• 한국지역지리학회지
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• 제16권1호
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• pp.76-84
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• 2010

연구의 목적은 공간, 사람, 사회의 상호작용에 관한 다양한 관점들을 비판적으로 검토하는데 있다. 먼저 인본주의 입장에서 장소와 사람의 관계가 논의되었다. 인간 그리고 자연과 건조 환경으로 구성된 장소는 사람들의 주관적 경험에 의해 의미가 생성되며, 이러한 장소의 이해는 장소를 객관적 자연적 관점으로 개념화시키려는 시도와 대비된다. 인본주의적 관점에서 장소와 사람의 관계 이해는 역동적인 사회적 정치적 현상을 설명하는데 한계점에 부닥쳤다. 르페브르와 하비는 마르크스 정치경제학적 입장에서 공간과 사회를 변증법적으로 설명하였다. 르페브르는 지각공간, 개념 공간, 생활공간 사이에 전개되는 모순을 통해 사회공간의 역사적 전환을 분석하였다. 인문학에서 입지, 거리, 경계 등과 같은 공간적 개념들이 은유적으로 많이 사용되었다. 푸코는 공간적 은유를 통해 원력, 지식, 공간의 관계틀 비평적으로 검토하였다. 권력과 지식은 구제적 시간과 공간으로부터 독립되어 존재하는 것이 아니라 특정 환경에 살고 있는 사람들의 사회적 관계망과 문화에 의해 구성되어 진다. 후속 연구에서 상이한 관점들이 보다 정교하게 검토되어 발전된 개념들이 수립될 필요가 있다.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.21-28
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• 2010

This study is purposed to understand the spacial usage of the furniture in detail for interior architecture. Many documents have prescribed the spacial furniture at random. While modernist have been interested in the spacial usage of the furniture, the importance of the spacial furniture stands out in architectural space. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. The villa, the weekend home of the Savoye family, was built between 1928 and 1931. Particularly, the villa Savoye was focused for this study. Le Corbusier viewed desks and case pieces for storage as architecture, and the unite furniture and architecture by developing cabinets in standard modules that could be painted either the wall color to become part of the wall or in contrasting colors to stand out as furniture. Spacial furniture was used architecturally in the interior as well, it gives the space an unexpected playfulness with the color of the finishing materials. The various usage of the Spacial furniture constitute an element of great architectural richness. They have a unique principle based on emotional order and make the man move to another space and experience the spacial connection. In particular, the furniture that was considered by Corbuisier have rational function, division of the space, leaning the structure, and so on. The furniture as the element of the space composition can change the architectural space and view as well as connecting each other. Spacial furniture appear as physical ones called wall, floor, column, and existential value as a living space.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.143-153
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• 2013

The purpose of this study is to explore how to make use of the light and expression methods to embody phenomenal space by considering the representation techniques and characteristics of a variety of 'Phenomenal light' in his works focused on the Steven Holl's views that thought the light as object of creating space. The process is summarized as follows: (1) Study on the relationship between light and color, Classify concept and type of phenomenal light by phenomenal color (2) Consider the characteristics and expression methods of the phenomenal light in the Steven Holl's architecture (3) Finally, organize the concepts and representation techniques of phenomenal light, and then present method to embody phenomenal space by light. According to this, the results are as follows: (1) Perceptual color by the light of the sense forms a variety of perception and texture of light and shadow according to the contrast of shades and the change of materiality, thus embodying multisensory space with the light as the medium approach that helps to experience formal and tactile senses. (2) Spatial color by the light of volume distinguishes the flow and movement of sight, and embody inducing space with the light as Atypical activity that forms atmosphere of space through concentrated or overlapped mass of light and darkness. (3) Existential color by the light of the light source visualizes the existence of the uncertain light, and embody the receptive space with the light as emotional communication that forms symbolic and psychological meaning through metaphorical phenomena of colored light.

• 건축역사연구
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• 제11권1호
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 춘계학술발표대회 논문집
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• pp.171-175
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• 2004

This study aims at the examination of the characteristics of sectional design by Raumplan through the analysis of his 12 houses in which his architectural design concept is clearly showed. The analysis proceeded through 12 sectional drawings, because of Raumplan is originated from the spatial concept which is dividing spaces with various differences of horizontal level. Through this investigation, three characteristics of sectional design by Raumplan which is to present : 1) Free horizontal variation by different level 2) Spatial division by splitted wall 3) Horizontal & vertical refraction of viewpoint & movement These characteristic seems like to including his intention to put into the various human behaviour in residence, it can be spatial clue to solve existential experience of 'homelessness' which is one of the biggest problems of modern times.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.42-49
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• 2015

The aim of this study is to review the background and characteristics of Pallasmaa's architectural phenomenology. As a prominent architect, educator and phenomenologist, Pallasmaa criticizes the contemporary architecture that has been commercialized and intended to addict superficial images. He suggests the restoration of essentials of architecture related to human existence. His architectural phenomenology shows a solution to problems of contemporary architecture through focusing on architectural experiences. Pallasmaa argues 'multi-sensory architecture' to criticize architecture based on visual images and emphasizes the importance of tactile sense for architectural experiences. His phenomenology of architecture has significant meaning in that it bridges between theory and practice but also has limits in depth rather than width of theory. Pallasmaa believes that the essence of architecture can be explained as existential activities to maintain existence of our lived space.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.

• 문화기술의 융합
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• 제10권3호
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• pp.635-641
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• 2024

논문은 메를로-퐁티와 레이코프의 육체와 정신의 분리 불가능성에 관한 연구를 바탕으로, 미디어아트 기반의 다층공간에서의 경험이 인간 존재의 이해에 미치는 영향에 대해 탐구하고자 한다. 미디어아트가 제공하는 감각적 경험은 관람자의 신체적 존재감을 강화하고, 현실과 가상의 경계를 모호하게 함으로써 새로운 현실 인식을 유도한다. 이를 통해, 인간의 존재와 세계와의 깊은 관계를 새롭게 인식하고 탐색할 수 있음을 보여준다. 본 논문은 미디어아트가 어떻게 육체와 정신의 연결을 통한 존재적 경험을 확장시키는 중요한 수단이 될 수 있는지를 분석하고, 예술과 기술의 결합이 존재론적 이해에 기여하는 방식을 설명한다.

• 한국실내디자인학회논문집
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• 제21권1호
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• pp.68-77
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• 2012

Appreciating the aspect of modem architecture requires not only the comprehension of the nature of design and architects' ways of thinking and expression but also observers' views on buildings and their perceptive/cognitive stages. This calls for an in-depth study on the "system of phenomenological perceptions" that works as a new architectural experience system. The system of phenomenological perceptions makes it possible to specify the individual process of understanding architecture, that is, hands-on experiences, participations, feelings, perceptions, and cognition. The value of user experience and cognition has been emphasized by philosophical and aesthetical concepts as well. Therefore, in order to better appreciate the modern architecture, this study suggests theoretical consideration to "orientation and event" that are crucial elements in understanding a phenomenological view and materializing actual space formation. This offers the cognitive system with which we analyze modem architecture and comprehensive expressional methods. In other words, this study contemplates the system of phenomenological perceptions from an existential spatial perspective by structurizing the system of the orientation and the event in order to segmentalize users' current locations, potential directions, the relations with spaces, continual vie'wpoints as well as buildings' functions and interior and exterior division. The system of phenomenological perceptions helps understand and systemize modern architecture through a system based on relations between sensation, perception, cognition, sensitivity, and rationality. This creates a new cognitive system employing the concept of the orientation and the event, which is different from a normal cognitive system basing on the sense of vision. When observers appreciate space, they tend to relate the space to a certain event and to remember their experiences in it. During the process, they draw borders of the space in which the event takes place and give shape to their experiences including actions, movements, cognition and sensation. The process leads to the formation of "placeness," and here, the concept of the orientation comes in as the location and the center of the placeness. This study proves that a determined orientation coupled with individual experience and events settles the place ness; detailed elements in the cognitive system have close relations with one another; the orientation, actions, events, and places are the factors that materialize observers' architectural experience.

• 문화기술의 융합
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• 제8권1호
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• pp.379-384
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• 2022

블록버스터 SF 영화 두 편이 동시에 등장한 2021년은 SF 장르가 열세였던 한국 영화사에 기념비적인 해이다. 넷들릭스에서 제작한 <승리호>와 티빙이 제작한 <서복>이 그 두 편이다. 공교롭게도 이 두 편은 로봇과 복제인간이라는 포스트-휴먼이 등장하는 SF물이다. SF의 시조인 소설 『프랑켄슈타인』에서 알 수 있듯 인간은 오래 동안 인간과 유사한 존재, 혹은 또 다른 인간인 포스트-휴먼에 대해 상상해 왔다. <승리호>는 우주 청소선과 우주 청소부라는 특이한 소재를 다루고 있으며, 인간과 매우 친숙한 로봇이 주요 캐릭터이다. 지구가 황폐화 되어 소수의 인류만이 인공위성으로 이주해 살아간다는 미래 사회를 배경으로 초거대 기업 설립자가 꾸민 음모를 승리호 선원들이 막는 이야기이다. 세련되고 정밀한 CG로 구현된 우주 공간 비주얼이 볼거리이다. <서복>은 시한부 인생을 사는 남성이 실험체로 만들어진 서복이라는 복제인간을 보호하며 동행하는 이야기이다. 두 인물의 실존적 고민을 통해 죽음과 영생이라는 철학적 주제를 다루고 있다. <승리호>는 한국적 신파 정서가 서사에 활용되었고, <서복>은 한국의 지리적공간을 배경으로 한 로드무비 성격을 띠고 있다.