• 한국콘텐츠학회논문지
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• 제13권7호
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• pp.91-101
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• 2013

불확실성의 시대에 현대건축은 다양한 미디어의 발전으로 인해 표현 양상과 전개 및 방법론에 있어 과거에 비해 훨씬 자유로워지면서 건축의 표현 양상에도 많은 변화가 시도되고 있다. 특히 현상학이 대두되면서 건축공간에 현상학적 표현의 방법이 다각도로 진행되고 있으며 건축의 형태에서 벗어나 본질적이며 인간과 상호 소통하고 체험할 수 있는 공간에 대한 탐색이 활발히 진행되고 있다. 본 연구는 건축적 형태(Figure)와 공간(Space)을 지각하고 인식하게 되는 방법으로써의 현상학적 이해를 통해 기존의 물적 구조체로서의 건축에 대한 이해를 현상을 품은 콘텐츠의 주체로써 이해하여 다각적인 공간 디자인의 방법을 모색하고 적용하는데 있다. 건축의 표현양식에 있어서 현상적적 접근은 빛을 건축공간에 접목하여 발표한 건축들을 중심으로 살펴보았다.

• 한국실내디자인학회논문집
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• 제23권1호
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• pp.114-121
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• 2014

Rikyu-Konomi and Enshu-Konomi accomplished the base of Japanese Dado as well as has set Japanese representative traditional culture. These are the products of the spiritual culture completed by the ideas of Sen Rikyu and Kobori Enshu, that are Wabi spirit and Kirei sabi spirit combined with the tea. This study is about the interpretation of Japanese traditional space designs related to Rikyu-Konomi and Enshu-Konomi as Japanese Traditional spiritual archetype. The process of this study is illustrated as follows: At first, it mentions the concept of Konomi as self-organizing system, and esthetic characteristics of Rikyu-Konomi and Enshu-Konomi. Secondly, it clarifies internal meanings and spacial characters of Konomi in the Japanese traditional space through the exploring Taian tea house as the example of Rikyu-Konomi, and Bosen tearoom and Katsurarikyu as the examples of Enshu-Konomi. Thirdly, it ascertains Rikyu-Konomi and Enshu-Konomi represented in the contemporary architectural spaces. It analyses the relation between modern traditional space designs and traditional archetypal vocabularies, and examines those spaces from an esthetic point of view for modern implication of Rikyu-Konomi and Enshu-Konomi. In conclusion, it clarifies the contemporary significance of Rikyu-Konomi and Enshu-Konomi in terms of japan traditional space design.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.3-11
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• 2006

After the 60's, The discourse of the Art of Reception, semiotics, and epistemology have been made steady progress. Especially, the Art of Reception which emphasizes the role of reader in the process of understanding the text, had made the significant role of the Border Dismantling in the Architecture. Its concept can be difined as the free interpretation of each individuals on the art works, that abhors the one-directional systems between reader and writer. This study analyzes the meaning of 'Borderness dismantling' as a molting the center of the world of God, center of Ideology, center of ration in the pluralized and center-cracked world. and also means vague border, no limitation, and overcoming, which make people participate together to overcome the estrangement. The process of study inquire into the phenomenon of fragmentization, indeterminacy, continuitiness, hybridization, mutual penetration, Rhizome and complex allegorization(the process of humanization) Looking back of architectural history, in the origin of those phenomenon, there is the etching works of Piranesi. Many contemporary architects had been affected by his works, and re-interpret and make come true of his visions. This study analyze the meanings of his working process and consequences on contemporary architecture.

• 한국의사학회지
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• 제19권2호
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• pp.101-118
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• 2006

Phenomena experienced by all individuals and cultural interpretation of such phenomena seem to be irrelevant to the change of time. The subject dream to be discussed in this study is one of them. Nevertheless, people's attitude of understanding dreams in the past is obviously different from the contemporary one, and the interpretation of dreams reveals the science of the corresponding age. Bishop Daveluy, a missionary to Chosun in the mid 19th century, observed Korean people's hardly understandable response to dreams. According to his explanation, Chosun people regarded what they saw in a dream as a fact. It might have been quite long that a dream is regarded as a sign of the future. However, how a dream can be a sign of the future is explained different according to the science of the corresponding age. Many records on dreams since the late Koryo Dynasty and the early Chosun Dynasty did not give satisfactory answers to this question. However, new interpretations of dreams were attempted occasionally in the process that the Sung Confucian view of nature in the Chosun Dynasty was being matured. One of such interpretations is that a dream is obviously a phenomenon of human cognition and there is a rule behind dreams. I t was believed that the rule is a flow of energy defined by reason penetrating through the past, the present and the future and, as a consequence, dreams are future oriented. The view that a dream is a phenomenon with a causal relation is observed more specifically in medicine. I t was understood basically as a pathological phenomenon but, at the same time, a substance in an organic relation with the human body. In addition, it was understood as the results of facts (physiological and pathological processes) experienced by the body in the past and the sign of diseases in the future. However, from the viewpoint of contemporary science based on empirical rationalism, such foreseeability is fundamentally unacceptable. In contemporary science, in which scientific analysis of phenomena has to be of the past tense, dreams exist as the representations of the past. What Bishop Daveluy saw in Korean people was a phenomenon observed when the pre modern met the modern as pre modern people's life and idea were viewed from a modern people's eye.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.38-46
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• 2013

The change in radically changing era requires various interpretation of interior space and application according to it Minimalism shows simple and pure geometric structure and has been influencing to every aspect encompassing space till present. The features of minimalism in space is geometric structure and composition of simple and repetitive line, restrained simple space, pure and structural simplicity. When minimalism construction is discussed, the vocabulary of simplicity has been followed incidentally and has been discussed as concept of simplicity in new viewpoint through historical flow. The purpose of this study is analyzing basic features of John Pawson's ways of working and trying to define the semantics of the new simplicity concept in modern interior space. The new simplicity in John Pawson shows interactive relationship of eastern and western through basic consideration of fundamental elements such as space, light and materials. The relational simple in intermediation of the new simplicity expressed by amalgamation of eastern and western further from disparate interpretation for simplicity expressed in eastern and western is to review back the basic meaning of simplicity in minimalism. And I hope this study can offer various directions for new interior space accepting theory of the new simplicity and I think that new constructional alternative is required as physical space which can be matched with era of social, environmental chaos caused by this theory of the new simplicity.

• 한국의류산업학회지
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• 제2권3호
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• pp.198-204
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• 2000

This study aimed to analyze the characteristics of domestic textile designs for miss and madam apparel and to find out the trend sensibility felt by young female judge according to the product year and apparel target age. Textile designs of 170 pictures of 1999 and 1994-1995 were collected at 4 shopping malls and from consumers, and results are as follows; As the sources of textile design were 'nature', 'imagination', and 'combination' used in the order of frequence, but the sources appeared more diverse in 1999 than in 1994-1995. The interpretation techniques expressed most often were 'stylized', 'geometry', and the mast frequent arrangements were 'all over', and the second was '4-way' in 19941995, '2-way' in 1999, that is, the arrangement were different according to product year. The trend sensibility were varying to the target age and product year.1999 apparel products were felt more 'sophisticated', 'contemporary', and 'sporty' if they were the textile designs for miss, while 1994-1995 products were more 'sophisticated', 'contemparary', and 'sporty' if for madam.

• 건축역사연구
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• 제24권3호
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• pp.7-16
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• 2015

It is not easy to clarify the historical perspective of architect through his architecture. Exceptional cases, it will be the time to design a history museum. As an institution, a Museum already became an apparatus to represent the history to it itself. Libeskind's Jewish museum Berlin has been presented as the controversial case most of all. In particular, in that it instead of dealing with history positive, that contains a tragic history, this building is a building that history a unique interpretation of the architect has been a problem. Therefore, it is difficult to find a suitable example to Libeskind's Jewish museum in Berlin to try and look at the problem of the history of contemporary history and interpretation of the architect. In this paper, I am trying to interpret Libeskind's Jewish Museum Berlin through the aesthetics and history philosophy of Theodor Adorno and Walter Benjamin. They are Jewish and the central figures of the Frankfurt School, known as 'critical theorists'. Their critical theory was formed based on the experience of the Jewish genocide and war.

• 한국조경학회지
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• 제28권3호
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• pp.53-60
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• 2000

Although built-environment has not only function but also socio-cultural meanings, the latter is neglected in the modernism. People don't have the identity of their place because they can't communicate with environment. Therefore, expressing the socio-curtural meanings in landscape is one of main issues after the modern era. The meanings of phenomena can be analyzed by the Semiology based on Structurism, the methodology which has been developed in Linguistics and Anthropology since 1900's. The purpose of this study is to adapt Helmslev's model that can effectively explain the meanings of built-environment and interpret the Koreaness, one of important meanings in contemporary urban park, Paris park. The following methods are used for achieving the purpose. 1. Adaptation of the Helmslev's model for interpreting the urban park. 2. Interpretation of the Paris park. 3. Making the types of interpretion of Paris park. The results are as followings: 1. Helmslev's model can explain the content and expression of the urban park in denotation and connotation. 2. Th socio-cultural meanings of Paris park are the relationship of France, Yan and Yin theory, philosophy of Samjae, king's authority. And they are expressed in the pattern of paving, the shape of mounds, fountain, and pond, a picture of the wall, colours of lightings and columns, and a mark of bollards.

• Journal of Contemporary Eastern Asia
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• 제20권1호
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• pp.120-133
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• 2021

This paper proposes an interpretation of Charles Ess's pros hen pluralism, especially concerning what constitutes the single end point (hen) toward which the pluralistic viewpoints converge (pros). The single end point, I argue, is constituted by an empirical social reality that obtains in the world at a particular period. In other words, it is the fact that we happen to agree largely and broadly on several ethical issues that serves as the end point in Ess's theory. The reason is that humans happen largely to share the same goals and values qua human beings, such as the desire for communication and cooperation with one another. It is not their rationality, or any other permanent and ideal characteristic, that serves as the source of normativity for human beings, but rather the contingent facts that obtain at a particular place and time, facts that humans happen to agree on. This raises an obvious objection of what to do with those who might cherish a very different set of values. The answer is that the globalized nature of the world today, especially deepened by information technology, makes it increasingly difficult for any groups to remain isolated. This does not imply, however, that disagreements are not possible. On the contrary, disagreements are a part of the whole process from the beginning. At the theoretical level, there is always a need for those who disagree on the theoretical issues rationally to persuade one another. This is also part of the empirical reality referred to earlier.

• International Journal of Costume and Fashion
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• 제5권1호
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• pp.14-25
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• 2005

The objective of this study is to understand bodily extension and identity in contemporary fashion art through the analysis of 'the fashion acting on the body' among the fashion theory excluding body and the conspicuous works on the opening and covering images as a fashion art as a body-space'. This study also investigated identity problems where there are poles apart in opening and closure their bodies and body-space in which its clothing types were distorted by being de-bodilization out of the traditional and ideological expression method in contemporary fashion art from a opening and closure point of view. Image of opening and closure among body-space in fashion art can be classified into opposing structure of opening and closure. Destroying the boundary between bodily opening and closure for a primary function of clothing and dismantling the role and boundary between body and clothing, opening body-space in appearance as a reemergence of body image or the border between inner and outer are being ambiguous because of transparent material. Being representative work of this study opening body-space was expressed as an opening space image using transparency. On the contrary, closure body-space was isolated from external environment and confined in the certain space, which could limit or restraint body- action. Excluding boundary of body and clothing on the whole or in part, boundary of work becomes body-space. However, these were appeared to be a work inducing unlimited curiosity and meaning from the audience. The interpretation of artistic and body-space in fashion art are indicating the role and function of the fashion art exceeding the suggestible dimensions in the every day life of fashion. The body-space of fashion art showing similar aspect of body art today could be understood that it is substituted into an metaphorical, critical space by seeing it as a symbol system connected with social space. Therefore, contemporary fashion art should be interpreted as an equivocal space looking at the body-space with open mind.