• Korean Institute of Interior Design Journal
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• no.33
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• pp.3-10
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• 2002

Virtual reality is not a new concept but just a new word and also it isnt limited to the reality created by computer-assisted image composition. Furthermore, we have lived within the virtual reality since long time ago, and the newly emerging digital technology has made the limits of the virtual expression vague and the definition of space concept new, The magical experiences we have had within the digital space consisted of Virtual space are the philosophical subject which we can hardly explain as a simple dichotomous definition such as Virtuality or Reality. But its true that our experiences made within virtual space are felt as much newer space considering those of space design, which have been traditionally made in our physical territory. Digital game is the representative space that provides a new space. Therefore, the new concept in space will be not just the territory expansion of space but also the opportunity we can find a new possibility through the relation between human and space. At this point in time that the life territory is expanding as a new space, this research goal is to show the new possibility of the connection of human and digital space through studying the relationship of Human and Space, Space and Digital space and Human and Digital space as well as The peculiarity of the space which is expressed at Digital game, the most representative space providing new experiences.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.114-124
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• 2011

The development in modern world media made information expansion and conversion much easier. These changes in media environment required a lot of companies to quickly respond to the overall environment and come up with new appropriate marketing strategies. Companies use experiential exhibition halls to enhance their images. The goal of the research is to set the basis for digital signage exhibition production characteristics as a spatial mechanism by presenting the need to use the digital signage as a tool. Digital signage expands senses and connects internal and external space. There are many types of digital signage (display, projection, special media, etc) and they are informative, aesthetic, inductive, and amusing. For research methods, Korean companies' exhibition halls sample analysis and surveys were executed to analyze the awareness, expression characteristics, effects, and usage status of digital signage. In conclusion, corporate exhibition halls should: 1. be an interesting and comfortable space that can be used as a communication tool between the company and consumers 2. increase corporate potentials and faith by expanding human senses and inducing new experiences 3. continue to capture the interest of spectators through diversity.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.126-133
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• 2007

This study is intended to set the concept of becoming meaning of digital space through digital technology and to study the influence of digital space on becoming of real space through derived keyword. The results of this study are summarized as follows. First, the digital concept is created in the process that the virtual space is changed into the real space with a priority given to form, space and time. Digital expression concept and image concept the structural becoming, and idea concept and creative concept creates the time becoming. Second, the concept of digital becoming exposes a physical visibility through the digital's virtual image, and non-space spatiality through the space simulation. It also continuously reveals a consecutive time and non-consecutive time through a statable progress, incremental progress, and dynamic progress. Third, as the influence of digital on becoming of real space, the digital visibly not only expresses the new and difficult becoming problem through conceptual virtuality, but also can review the real space's space concept with virtuality in the digital non-area. Digital's durability expresses the new space's existence by physically combining with the existing space through the virtual form creation.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.3-11
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• 2008

'The eye' and 'the gaze' organize the visual system and distinguish the subject from the others. Recent philosophical thoughts have forcefully argued against the tradition characterized by the domination of the eye that assimilates the alterity of the others to one's own, cancels their alterity, and totalizes their differences within himself. In the speculative discourse modeled on the eye, the alienation of self in its other and the reflection of the object are linked together in such a way as to form a totality in which they are reflected into one's another, leaving absolutely no remainder outside. By contrast to this totalizing tendency of the eye, Sartre and Lacan propose the gaze that becomes constitutive of vision. The modern architecture reinforced subject's eye and clearly separated the others from subject Through Descartes's visual paradigm, space became homogeneous and nature was seized by architecture. However, recently the clear boundary between subject and object is disappearing. Lacan insisted that oneself's eye and the other's gaze are mixed up in human sight This means that the boundary between the subject and the other is indistinct and also the boundary between an object and landscape is meaningless in architecture. The overthrow of gaze in contemporary architecture appears in the form of trans-boundary, translucency and widen architectural notion and expression.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.128-135
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• 2010

In this paper, traditional residential architecture in South Korea appear to approach environmental regulation as part of ecological architecture of regional climate controlled environment, according to the characteristics and spatial arrangement, and material to the environment was described as a controlled manner. The scope of this study was not large scale housing construction from traditional chusagotaek, yunjeunggotaek, yangjindang, dokrakdang target was the case. Focusing on examples extracted from Korea first eco-friendly characteristics of traditional residential architecture is an extension of nature to explore space and yard space, and South Korea by way of environmental control that appears in traditional architecture, waterproof, moisture, solar radiation, sunlight, ventilation and air Attributes such as environmental regulation and environmental regulation of space, place and manner of materials were described. Korea's research through more traditional residential architecture of the environmental control and a wide range of environmentally friendly eco-construction was that appeared natural to use energy efficiently, it had been available. Later appeared on the Korea traditional architecture through research on environmental control of environmentally friendly ways to navigate and take advantage of the elements, through continuous research and eco-friendly construction to realize the traditional South Korea could provide a prototype of the modern, I thought I'd had.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.293-301
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• 2013

The purpose of this study was to find the space perception by the scene and to analyze the characteristics in the exhibition space. The data for the analysis was collected through a questionnaire survey method. The questionnaire is composed of a scene selection on the panoramic photographs of the exhibition space. 'The 4 Rivers Cultural Center - The ARK' was selected as the subject of this survey. The results of the study are presented as follows : First, the space perception perceived imaged scenes rather than the specific elements of space. Second, the space perception was revealed through the 'Form', 'Materials', 'Light', 'Lighting', 'Furniture' and 'Media' of notable elements. Also that was perceived by forming 'Line', 'Surface' and 'Volume'. Particularly, the perception of 'Surface' was higher than 'Line' and 'Volume'. 'Surface' was perceived mostly through the 'Color'. The perception of 'Line' was positive to 'Boundary' or 'Continuous placement of the light'. In addition, the perception of 'Volume' was positive to 'The curve of the form', 'Transparent material', 'Three-dimensional elements'. Finally, The type of space perception was chosen as 'Extension', 'Center', 'Deep', 'Boundary' and 'Formative'. In this way, the results of this study will set a foundation for developing design methods to induce the space perception by the scene in the exhibition space.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.239-246
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• 2013

This study is aimed at understanding the color extendibility of color-field abstract through Mark Rothko's paintings. Color extendibility is a structure applied by Mark Rothko. He simplifies it and by pursuing autonomy and immediacy of the color itself, including surface color and the front of color-field, Rothko creates value through motions in his square paintings of non-fixed shapes. Chapter 2 revisits the meaning of color in abstract expressionism and explains the principle of color-field by applying the concept of ergon and parergon. In chapter 3, the principle, processes, methods, techniques of expression were studied as a basis to understand color extendibility and color-field abstract. In chapter 4, the works of Mark Rothko were analyzed based on his multiform paintings(1946-1948), number and untitled(1949-1957), and black paintings(1958-1970) in order to identify, in the final chapter, the features of color extendibility in Rothko's works. According to the above research, the thesis successfully concludes that the artist's reconstruction of reality and readjustment of transcendent reality are reproduced via color extendibility, the movement of color-field.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.30-37
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• 2007

This research is to find out the characteristics and significance of the plastic experiments with colored planes in Theo van Doesburg's works. Based on the analysis, the following results have been obtained. First, Thea van Doesburg's plastic experiments with colored planes started from the paintings in 1916-1918. series and series were made of the ion of still life or human motion. These paintings were intended to make effects of rhythm, acceleration and simultaneity. Second, he colored the outer and inner architectural surface with primary colors. The expression of visual. rhythm on the color design for De Vonk, Districts Housing Projects VIII & IX in Spangen, Multi-Housing in Oosterstraat, Friesian Housing, Landbouw Winter School, and University Hall in Amsterdam embodied the concept of painting-in-architecture. Third, the field of these experiments were extended into the architectural space. As a results, $H\hat{o}tel$ Particulier and Maison d'Artiste was shown on the Architectural Exhibition in Paris in 1923. The colored planes were used as a construction material. They generated the dynamic space in architecture. Fourth, through the pictorial works like Architectural Analysis, Contra-Composition, Simultaneous Composition or Simultaneous Contra-Composition, Tesseract and Aubette Cinema-Dancing Hall, he created the concepts of simultaneous integration including nature and the environments as well as space-time in the architecture.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.102-110
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• 2007

According to change a generation, in modern society the view which looks at the nature the people and the space is changing. As recognition which the environment is the most important factor in our society, there are researches that environment has to preserve and there are methods that the environment is related with the human, therefore, in the space ecology design views that similar to modern society are being shift. Museum of natural environment is public and popular space that it is designed and composed by a method of ecology space design. Hence, on this study, the museum of natural environment is defined public space by ways of characteristics of ecology design and a design characteristic which the museum of natural environment basically has to arrange are examined. Gallery of natural environment is most related with subsidiarity of mutuality, unity of the totality and stablity and will need other factors such as diversity & balance and suitability. Characteristic of museum of natural environment will be understood method for extension of a sustainable and mutual public space based on the this study, and it will become a process that we will have to advance for not only the present day but also the future.