• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• Journal of the Korean Geographical Society
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• v.40 no.5 s.110
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• pp.473-490
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• 2005

The term hybridity has recently emerged as one of the most popularized leitmotivs in contemporary diasporic and transnational problematics on migrants' nomadic experiences. Especially, in postcolonial politics, hybridity is argued to provide a critical 'third space' on which to challenge discursive boundaries and redescribe power-embedded history However, this paper suggests that the hybrid subject position can be easily articulated in producing new cultural discourse and empowering hegemonic subjects in certain spates. Based on distinguishing the intentional, conscious hybridity from the organic, lived hybridity, this research Intends to investigate the Janus-faced, double-edged nature of the postcolonial politics of hybridity in the case of Los Angeles Koreatown. First, I discuss how a place of organic hybridity in Koreatown can lead to challenging invented and depoliticized ethnicity. At the second half of this paper, 1 focus on understanding the ways in which new Korean American professionals and elites employ the discourse of '1.5 generation' as an intentional hybridity for empowering their own political position at a local scale. I conclusively suggest that hybridity should be a deconstructive strategy to unlearn dominant socio-spatial boundaries rather than bring about the third space as a reterritorialized political position.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.69-97
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• 2021

'Déconstruction' is a system of thought that induces the emergent property that characterizes contemporary philosophy. The tradition of ancient Greek philosophy evolved over and over again, giving rise to the Renaissance and Enlightenment. It seemed to have reached its end under the historical perspective of modernity. However, contemporary philosophy wanted to see more possibilities through the deconstruction of modern philosophy. If modern philosophy dreams of a strange cohabitation between God and man with the humanistic completion of Plato's philosophy, modern philosophy rejects even that through deconstruction. Although Plato's classical metaphysics is a stable system centered around the absolute, it is ultimately based on God and religion. Under that system, human autonomy is only the autonomy bestowed by God. Contemporary philosophy is one of the results of efforts that try to begin philosophy from the original human voice through deconstruction. Instead of epistemology dependent on metaphysics, they wanted to establish epistemology from human existence and realize the best good that would set humans free through deconstruction. As such, it is no mistake to say that deconstruction is also an extension of the modern topic of human freedom. Deconstruction and human freedom act as one body in that the two cannot be separated from each other. Oddly enough, Daesoon Thought, which seems to have religious faith and traditional conservatism as main characteristics, has an emergent property that encompasses modern and contemporary times. The period of Korea, when Kang Jeungsan was active and founded Daesoon Thought, has an important meaning for those who have a keen view of history. Such individuals likely think that they have found a valuable treasure. This is because that period was a time when ideological activities were conducted due to an intense desire to discover the meaning of human freedom and envision a new world without copying the ways of the West. Instead they looked to face internal problems and raise people's awareness through subjectivity. In other words, the subtle ideas created by Korea's self-sustaining liberalism often take the form of what is commonly called new religions in modern times. Among these new religions, Daesoon Thought, as a Chamdonghak (true Eastern Learning), aims to spread a particular modern value beyond modern times through the concept of Haewon (the resolution of grievances) that was proclaimed by Jeungsan. The Haewon espoused in Daesoon Thought is in line with the disbandment of modern philosophy in that it contains modernity beyond modern times. First, Haewon means to resolve the fundamental resentment of human existence, which arose from Danju's grievance. Secondly, Haewon in Daesoon Thought encompasses the Haewon of the Three Realms of Heaven, Earth, and Humanity centers on a Haewon-esque style of existence called Injon (Human Nobility). Haewon in Daesoon Thought can be understood in the same context as Derrida's philosophy of Deconstruction. Modern deconstruction attempts to expose the invisible structures and bonds within human society and attempt to destroy them. In a similar way, Haewon endeavors to resolve the conflicts among the Three Realms by releasing the bonds of fundamental oppression that hinder the Three Realms of Heaven, Earth, and Humanity.