• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.115-120
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• 2006

This study concentrates on a new idea that is formulated as a creative space recognition in contemporary architecture and painting. It is stimulated from Deleuze's philosophy, which is expressed with the philosophical instrument, "Non-Representation". After discussing the concept of non-representation used in Deleuze's philosophy, case example in contemporary architecture are analysed to comparatively Investigate the relationship between the architectures by Rem Koolhaas and painting by Francis Bacon. Therefore, he founds expressions of "diagram" and "movement" in painting of F. Bacon. Diagram meansit is a power that is comprised of various points of wiew with the kind experiences that one has in life. Movement that were extracted form the Instrument in space recognition of Deleuze's panting theory were of topology, insertion of geometry, reiteration of layers, transparency and translucency, reflection effect.

• Journal of East-Asian Urban History
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• v.2 no.1
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• pp.163-190
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• 2020

This paper aims to introduce and understand critically the work of Edward Soja, mainly the First part of the which develops his own concepts, such as 'synekism', 'trialectics of space', 'regionality' and 'geohistory'. Most of all, in explaining Geohistory, he emphasizes three 'Urban revolutions': First Urban revolutions in Jericho and ÇatalHüyük, which shows first synekism as proto urban society, Second in Ur and other Sumerian cities where appeared a concentrated power of central government and its transcendental ideologies, and Third in Manchester and in Chicago, typical capitalist cities. These three urban revolutions don't correspond to the established historical periodization. In order to understand these revolutions, it is necessary to comprehend the concept of 'machine' of G. Deleuze and F. Guattari, inspired, in fact, by Lewis Mumford - Primitive Territorial machine, Barbaric Despotic machine, and Civilized Capitalist machine. However, these periodization and concepts of E. Soja have to be applied very cautiously in accordance with concrete historical sources, avoiding theoretical distortion on positivity of historical facts.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.93-103
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• 2015

This study set out to figure out the tendencies of the staff members participating in the space design of Blade Runner and compare and analyze its set and location characteristics with its narrative based on Gilles Deleuze' Simulacrum, one of the basic theories of Post modernism, thus identifying the characteristics of postmodern space inherent in it. The findings were as follows: first, the spaces in a Late modernism tendency in Blade Runner seem to have been created by the cinematic imagination of Syd Mead and Douglas Trumbull rather than being influenced by the old Late modernism architecture. Second, the postmodern spaces of the movie were designed to depict a more realistic future by reinforcing the old ornamental elements or adding the mechanical aesthetics of Late modernism based on a prediction of future cities. Third, the characters representing Late modernism and Post modernism in the narrative of the movie embrace the tendencies of the parties objected by Model and Simulacrum in the scenes where they deny the tendencies of the spaces to which they belong, thus exhibiting a dual trend. Fourth, the dual narrative of Model and Simulacrum holds duality even in the space and architecture of the movie, which is the reason why the movie chose postmodern spaces reflecting historical contexts instead of inner spaces in the tendency of minimalism, which was in vogue when SF movies were made those days. Finally, the spaces of the movie can be categorized according to the Late modernism and Post modernism tendencies from the perspective of the 1980s and be understood to show the architecture and space of future Post modernism feasible through the layering of historicity, locality, and mechanical aesthetics from ancient Maya to a future city in Los Angeles, the background of the movie, from the perspective of 2019.