• 건축역사연구
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• 제8권1호
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• pp.63-80
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• 1999

Poet, Yi-sang, born in 1910, originally studied architecture in Kyeong Sung High Technical School. He also experienced an architectural practice in Chosun Chongdokbu (the Government office of Japanese empire in Korea) during 4 years. After resigned the post of architectural engineer in 1933, he became a man of letters. Until his death in 1937, he published the writings hard to understand, which remind us of the works of western avant-garde. Because of the peculiarity and difficulty of his poem and novels, he becomes the object of studies by many critics and historians of literature. And he is estimated as the representative of Korean modernism. This study tries to related Yi-sang's early poems to architectural discourse for the search of 'modernity' of Korean modern architecture. His early poems, which is published in from 1931 to 1933, are worthy of notice because they contained a acute shock derived from radically changed spacial structure, the absolute emptiness of the individual happened in the 1930's Seoul. They also show a different attitude from the writings of Park Dongjin and Park Kilryong, the architects contemporary with Yi-Sang. Compared with their writings, Yi sang's early poems had an insight into the totality of modern culture like western avant-gardes. Therefore Yi-sang's early poems can give us a good base to understand the characteristics of 'modernity' of Korean architecture.

• 건축역사연구
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• 제25권6호
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• pp.73-80
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• 2016

A discourse on the Independence Hall of Korea, a representative cultural project of the 1980s, has been understood as a repetition of the traditional debate of the 1960s. It was considered as a petrified propaganda aimed at ensuring the fragile legitimacy of the military regime, and the architect as a sympathizer. Even if all these facts are true, it does not give any explanation for the architecture. Scrutinizing the building process and the change of discourse in the Independence Hall of Korea, this paper tries to explore a section of contemporary Korean architecture in the 1980s. The architect who designed the Independence Hall of Korea is Kim Kiwoong, however, it was Kim Won who took charge of overall scheme for it. Kim Won replaced the role of a technocrat in the 1960s, who deprived architects of his autonomy. Against this backdrop, Kim Kiwoong attempted to explain his own building via various concept like postmodernism, which gave him very proper context. But, later, he appropriated words like void and madang. These derived from some architectural historian's researches in 1970s, and were to predict the architecture of the 1990s.

• 한국패션뷰티학회지
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• 제3권2호
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• pp.25-30
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• 2005

This study is to research the symbolism of the Eastern and Western costumes' color in films. Therefore, I chose movies about colors, which are 'Trzy Kolory', a Western movie directed by Krzysztof Kieslowski and 'Hero', an Eastern movie directed by Zhang Yimou. The purpose of this study is to figure out the symbolism of the common colors shown in both movie which are red, blue and white. Also, by comparing the eastern and western color symbols I studied the ambivalence of colors. Therefore, the comparison of the eastern and western color symbolisms are as the followings. The color red symbols charity in the movie and jealous, hatless, lies, expansion, self esteem, resist, struggle and sadness in the movie . The color blue symbols freedom, lost, gloomy and sadness in the movie and sacrifice and sadness in the movie . The color white symbols equality and emptiness in the movie and true love, sadness and sacrificed love in the movie . Consequently, it appears that the colors symbolize differently in the East and the West. Three series of which is the West movie has more positive meanings than the Eastern movie. Therefore, the meanings of symbols of the costumes' color are different in the East and West as they have different cultures, and also they could be expressed differently by the directors intention.

• 한국실내디자인학회논문집
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• 제19권1호
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• pp.169-179
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• 2010

Since modernization period thru Japanese colonial era the modern architect began to play a important role for Korean housing architecture. So called 'House as an Art Work', detached houses by prominent architects, belong to a meaningful sector in Korean modern housing architecture. The harmony with tradition was always big issue for such works. This study aims to understand how paradigms for tradition were interpreted with the changes of the time. The analysis showed various tryout by architects, that concretize traditional characteristics in their work. For example, traditional lifestyle were clearly reflected in the floorplan during 30's and 40's. In the 70's building mass and formative roof design were emphasized to present traditional image. As well as it represented primitive esthetic and vernacular decoration. In addition, expressive tendency, that demonstrates korean sentiment through material and its texture, got a preference. Since latter half of 80's some traditional architectural elements were modernized and space characteristics were newly created from acculturation. Furthermore the philosophy of "Subdivision of building wings and Emptiness" follows this trend. This type made a courtyard and connected articulated building masses each other. "Sympathy with Nature" were most essential for a traditional houses in contrast with western architecture. Many architects today make various method to bring nature into interior space and to contemplate nature In the house. Such kinds of adaptation to tradition could be understood as a unique process to manifest identity of Korean modern houses.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.55-62
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• 2006

Andree Potman is one of the few French female interior designers who has successfully extended her design territory beyond France into a more global context. Unlike other interior designers Potman has a very unique and eclectic background. She has studied music, worked as a journalist, talented in redeveloping designs that were unknown at that time such as design's of Eileen Gray, Mallet-Stevenson, and many more. Starting her career as an interior designer we can see her designs not only in France but also in many other countries such as America, Japan, and Germany. However her name is not that familiar to the designers in Korea. Therefore the current study focuses on the introduction and understanding of Potman's designs in regards to the relationship between interior space and objets that have made her designs so called 'Potman Style'. In order to accomplish the objective the researcher first studied means and use of ejects in interior space and next examined characteristics of Potman's designs including lighting fixtures, products, furnitures, and Interior designs. Finally, by using constant comparative analysis four categories (esthetics of emptiness, repetition of geometric forms, contrast in style, and focus with lighting) of design methods are revealed as the characteristics of interior elements as objects in Andree Potman's interior designs.

• 영미문화
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• 제13권1호
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• pp.1-28
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• 2013

Edward Abbey is regarded as one of the most influential ecological or nature writers. He celebrates the American Southwestern desert, argues for wilderness preservation, and advocates politically-oriented environmental activism to defend wilderness. He, however, does not classify himself as a nature writer, but rather places himself in the tradition of a kind of autography. His books show his fascination with the delicate harmony of the desert, and at the same time his personal journey over the desert. That is, eco-centered, he keeps his journey into the heart of the desert. He finds the desert harsh, brutal, fatal, and most of all, indifferent. The desert reveals simplicity and mystery, silence and revelation, and emptiness and fulfillment. This mythical and paradoxical essence of the desert draws him into the place and inspires redemptive humility and beauty, which, in turn, peel off his old ego or self. During his journey, Abbey tries to immerge himself with the desert yet remains intact and individual. The desert serves for him as the bedrock which sustains him and offers an opportunity to gain a new whole perspective. Like a pocket hunter in the desert whom he characterizes himself, he sticks to the desert to dig out ground for his existence and survival. Pulling the energy and force of the desert into his soul, Abbey is free, or compelled to contemplate what is beyond the human. His experience in and of the desert leads to a discovery of self and initiates selfhood.

• 건축역사연구
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• 제15권3호
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• pp.119-135
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• 2006

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

• 한국콘텐츠학회논문지
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• 제20권4호
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• pp.616-628
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• 2020

본 연구는 오늘날 대학생의 연애를 심층적으로 이해함으로써 그들의 적응과 발달을 돕기 위해 연애 비선택 경험을 탐색하고자 하였다. 이를 위해 연애 비선택자 12명을 대상으로 심층면접을 실시하였고 합의에 의한 질적 연구방법을 사용하여 결과를 분석하였다. 심층면접 내용을 분석한 결과 총 3개의 중심개념에 대해 6개의 하위영역 그리고 27개의 범주가 도출되었다. 그 연구결과 첫째, 연구참여자들의 연애비선택에는 마음에 드는 상대가 없는 것이 공통적으로 영향을 미쳤다. 둘째, 연애 비선택의 과정에서 연구참여자들은 여유가 없는 상황에서 연애가 밀리고 연애에 특별한 가치를 두지 않으며 연애경험이 부정적으로 지각되었다. 셋째, 연구참여자들은 연애 비선택의 결과로 자신에게 집중할 수 있고 자유로움을 얻을 수 있었으며, 연인의 빈자리나 주변 사람의 소중함을 느끼기도 했다. 위와 같은 연구결과를 바탕으로 대학생의 연애 비선택에 대한 시사점과 제한점을 논의하였다.

• 대한한의학원전학회지
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• 제30권1호
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• pp.211-221
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• 2017

Objectives : The practices of Wei-qi and Nutritive-qi are generally divided into external Mai and internal Mai. However, they are closely interrelated and practiced together. While taking these aspects into consideration, this paper attempts to make interpretations in relation with Nutritive-qi the disease pathogens that appear in Shanghanlun's disease symptoms. Methods : Using the practice and function of Nutritive-qi described in Huangdineijing, the paper shall make interpretations for the patterns of Mawhangtang, patterns of Gaejitang, and the pathologies of pain, oedema, and nosebleed as described in Shanghanlun. Results & Conclusions : The pain from the patterns of Gaejitang differ from that of the patterns of Mawhangtang. First, the pain from the the patterns of Gaejitang cannot be the main symptom. Even if there is a symptom of pain, it's severity is not serious. Second, the pain from the patterns of Gaejiang takes the form of stiffness, and not general bodily pain. The reason for this stiffness is because of the emptiness of Wei-qi that leads to the congestion of Nutritive-qi which in turn causes the lack of qi and blood flow in muscula area such as abdomins. The symptom of oedema where one's body becomes swollen comes from a number of pathogens. First, the flow of meridian becomes hindered due to external dampness, a character which tends to be adhesive when added with humidty, and this results in the blockage of water qi which then causes the coagulation of nutritive blood. Second, when toxic heat is repressed and blocked within the lesser-yang channel, lesser-yang meridian stops working, which causes nutritive blood to clog at the front and back of ears since lesser-yang channel flows through that portion of body. Third, although oedema is not specifically mentioned in the sentences, but there exists the patterns of Daechungyongtang where water lumps are formed due to the accumulation and blockage of watery dampness. The patterns of Daechungyongtang is cuased when meridian is hindered from externally discharging body fluid due to a problem with meridian that blocks the fumigated internal heat which turns into bodily fluid from being discharged externally.

• 디지털융복합연구
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• 제13권10호
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• pp.235-243
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• 2015

현대인들이 브랜드와의 관계에 선호하는 것은 전통과 공동체가 무너짐에 따라 안정적인 대상이 없기 때문이며, 대중들은 이때 발생하는 심리적인 공허함을 소비자와 브랜드의 관계를 통하여 채워나감으로써 빠르게 변화하는 세상에서 안정된 심리상태를 유지할 수 있게 되는 것이다. 본 연구는 융복합 아파트 브랜드가 브랜드 애호도에 미치는 영향관계에서 관계품질의 매개효과를 분석하는 것이다. 분석의 결과는 다음과 같다. 첫째, 브랜드의 이미지가 애호도에 정(+)의 영향을 미치는 것으로 나타났다. 둘째, 브랜드의 이미지가 관계품질에 정의(+)의 영향을 미치는 것으로 나타났다. 셋째 관계품질 소비자-브랜드가 브랜드 이미지와 애호도에 매개될 것이다. 연구결과로 아파트 건설사들이 소비자에게 느끼는 브랜드 이미지와 애호도와의 영향관계와 소비자 관계품질의 매개효과 결과로 마케팅 전략을 효율적으로 집행할 수 있고 이에 따른 전략도 추구할 수 있다.