• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.54-62
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• 2011

Fast industrialization caused from Descartes' dichotomy has enormously developed our world, but endangered the ecosystem. In this study, the ecosystem aesthetics is not only a critique against existing growth-ideology and technical civilization, but also the art pursuing the life as an artistic state and achieving the dream for qualitatively different new future. Lao-tzu's Natural Beauty assumes that the adaptation to natural laws can lead every purpose's achievement. Based on such theoretical alternative, the earth construction as a medium for coexisting mankind, nature and construction interacts with the other objects through the natural affinity, the energy efficiency, the material generation. The earth construction provides the images of naivety, naturalness, folk as well as emotional stability in cultural terms. This study's direction and method are as follows. First, it researches the ecosystem aesthetics from the Taoism viewpoint, the alternative for environmental healing based on theoretical reviews about the ecosystem aesthetics. Second, it researches the earth construction's ecosystem aesthetic features and construction features from the low-tech aspect in continual construction genealogy. Third, it analyzes some cases targeting domestic buildings by drawing out expression methods and features through the connectivity of earth construction and ecosystem aesthetics. The earth construction lies between the heaven and the earth, but coexists in natural cycle. The earth construction caused from ecosystem aesthetics will be a future alterative, and various studies about its features and methods should be continued.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.160-169
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• 2011

In Korea, the construction company has provided houses through apartment sales system. Residents have obtained a variety of information about their future house by visiting a sample house called "the model house" before they purchase home. Advanced technology such as web-based VOD or Virtual Model in recent years has gradually replaced those built environment. In 2009, the Ministry of Land, Transport and Maritime Affairs announced the restraint to the construction of sample houses. Instead, they highly recommended a Virtual Model House as an alternative solution. This study aimed to propose how to design the user-oriented virtual model house through the experiment and survey research. The 3D virtual model house of 85m$^2$ apartment was built and presented by two types (Type A: Bird's Eye View, Type B: Walk through View) on the web page. The subjects evaluated presence, spatial perception and cognition, and usability of each type after exploring them. The results are as follows. (1) The subjects' evaluation of presence showed Type B has more negative effects than Type A such as feeling dizzy or tired even if their values were not so high. (2) The subjects perceived and cognized both types of virtual model house more realistic for the expression of volume of space, the size of opening, and the arrangement of furniture than that of wall finishes and materials. (3) The usability of Type A was significantly higher than that of Type B.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.51-59
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• 2016

Recent modern architecture shows a lot of cases that introduce natural light in indoor space, arousing diverse emotions within a minimal space by means of changes in the light. There are various causes for the background of these streams of times, and it may be said that pursuing the relationship between natural phenomena and space, using changes in light, is an important factor among them. This is closely linked to the raise of phenomenological architecture. In the case of Japan, there are many cases where the architectural language connected to the traditional architecture has been restructured to fit to modern architectural technique. The modern reinterpretation and development of the Japanese traditional effect of light and its meaning can be seen in cases of Kuma Kengo and Tadao Anndo. Of the modern architects that have used the appearance of spatial concept of light in Japanese architectural space, Kengo Kuma shows his attempt at finding identity in his designs through the acceptance and modern reinterpretation of orientalism of nature, along with the traditional and regional interpretation through materials and ways construction. It is his use oh light input used in traditional Japanese settings that have differentiated his work. On this, the present thesis intends to analyze and synthesize what impressions Kengo Kuma's unique methods of light production create in the formation of users' spatial perception, how the unique encounter of light and materials seems to perceivers, and the characteristics of his light production and expression that harmonize space, human, and nature in the visual and perceptual experience of space;

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.96-105
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• 2013

Branding is a process of building the relationship between a brand and consumers. This process can also happen in a space that reflects brand characteristics, and this kind of branding is called space branding. This way can strengthen a brand image by delivering its profound impressions with synesthetic experiential services for consumers. In terms of brand extension, particularly, it is possible by space branding to apply the image and value of the parent brand to spatial design so as to expect the direct effect of experiential brand recognition. As a result of case analysis for space branding - the scope of which was limited to hotels - specific ways of embodying a brand into space were largely classified into three types: the first is the 'embodiment of visual elements' that directly embodies a brand's logos, colors, forms, and textures into space; the second is the 'experience of brand content' that mainly adopts the way of giving impressions with events or customer services, or of inducing direct experiences combined with exhibition function; and the third is the 'symbolic expression of brand characteristics' that indirectly expresses the strong concept or image of a brand - a type in contrast to the first direct type. These ways of space branding change the general abstract feeling of a brand's qualities into specific spatial experiences, thus now settling as one of the ways of marketing that are direct, strongly sustainable, and the most effective.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.11-18
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• 2013

The Contemporary consumer society demands companies to emphasize more on the brand marketing that can deliver the brand identities distinguished from those of competing companies. In today's environment, the meaning of consumption is not only a simple purchase of a product, but also assimilation into images, experience and emotional aspects of the brand. The flagship stores of brands take the advantage of the tendency seriously and utilize the envelopes of the building as marketing catalysts to establish their brand identities. This paper aims to investigate the possibility of the architectural envelope as a marketing element to establish the brand identities, by analyzing the design techniques that enhance the visual effects utilizing innovative application of material, pattern and connection details. it is studied that the function of architectural envelope's change from past to recent date and role of architectural envelope as means of marketing for expression brand image in contemporary commerce space and elements that can be applied on architectural envelope with theoretical consideration about marketing and brand identity. Also this paper will research about experience elements because the process for consumers to recognize brand image with architecture is the process of visual experience. And through example research, this paper will study interrelationship between visual system of cognition to be expressed on architectural envelope.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.130-139
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• 2008

We have attached importance to the values of spirit and immateriality. As the age of modernism of rationality ended, human being began to emphasize spiritual and immaterial while accepting multiplicity and diversification in the whole areas of society and culture. Hence interests have increased in another side of human spirit that was oppressed by rational, analytic, reasonable and scientific thinking, which has expanded the inner world of human being to the world of the unconscious. According to these paradigm changes, steady efforts to improve our lives better both materially and spiritually have been made in the areas of art and design. Therefore, the current study aims to examine the meaning of object expressed in space from the viewpoint of the unconscious, focusing on works of designer Philippe Starck after 2000 in which unique, preferential and liking characteristics are expressed well. Philippe Starck is a designer who connects design with our daily lives and formalizes it with creative ideas. Also the study theoretically explored the theory of the unconscious, a concept of Freudianism, based on 'Meaning of Dreams' of Freud, and explained the expressional characteristics and meaning of unconscious desire through his works by putting object in Philippe Starck's space. It aims to grope for the meaning of object as another possibility that can function as a spatial ruling element by analyzing object through expanding the extent of correlation and interpretation between human containing spiritual things and object which is the recognition subject in space of the present time, not a mere concept as substance like in the past, and expression of Starck's unconscious desire based on unconscious theory.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.155-162
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• 2017

Recently, space branding has been used as a branding method for many companies because space communication is a way of utilizing space in a wide range of ways. However, generally speaking, communication only focuses on goods and information about brands and does not focus on consumer's stories. The purpose of this study is to present the communication of " Back to Harakenya " in concept of Harakeya as a solution to this problem and confirm its effectiveness through examples. We selected on the range of " cosmetics brand ", " food and beverage brand ", " brand brand " and " fashion brand " which can used as a direct experience as a marketing method, which is a good condition for communication. Based on that, Harakenya selected cases as spaces with the concept of "Back to Harakenya". Previously, Harakenya's concept of "Back to Harakenya" and his designs appears three features. First, it transforms into various being secondly, it generates active imagination and it contains at least as many things as possible. This resulted in the effect that people remember the image with a clear image. Based on this study, We investigated to draw a result of effects through how the design expression is made in the spaces of Space Branding and how the "Back to Harakenya" communication is taking place in the space. Through these studies, the design and communication method of Harakenya's "Back to Harakenya" concept helps us to remember the brand clearly and furthermore, we confirmed that the brand value can be improved.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.328-335
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• 2012

Due to development of digital technology, a concept of stage design management is being changed. In addition, stage management technique is changing a viewpoint of the audience watching a stage through the convergence of analogue and digital technology. Three-dimensional media such as LED and hologram and works combining with previous stage performances are rising, and the audience's requirements about spectacles on the stage are increasingly higher. Interaction between a stage, audiences and actors is a communication tool by a work story and its direction. In other words, stage design should newly focus on not only concluded work story but also comprehensive delivery of direction and the expression and extreme delivery. Therefore, this study aims to examine how to combine analogue and digital direction elements in the stage design. To this end, this study looks into everything the audience feels through performances and analogue and digital elements directed for performances and then analyzes and arranges them to present a possibility of various types of work performances. Stage structure, set, and lighting that are analogue direction elements are the basis of stage performance. Analogue direction elements mean a media vehicle that can differentiate except for basic direction of each work. This study aims to analyze new performance culture when analog and digital direction elements are combined through stage performance and a possibility of new stage performance. In addition, through this it desired to seek for a development possibility of Korean leisure culture and art culture. As the work cases, this study shows 10 works through actual stage performances held in Korea and introduces elements directed in those works.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.217-226
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• 2012

The purpose of this study had started from trying to look for a new standard in new media era and sounding out possibility of perspective of digital poetry, and had been extracting interpretational elements based on characteristics of otology in digital poetics research in technical method. Through examination of many documentary records, we suggested interpretive elements of medial space based on meaning and the theory of digital poetics. We deduced three perspectives based on relationship between the basic thesis in poetics and interpretive elements of medial space. We used them as tool for analysis of example. We chose as an example that change of program in space is clear through connection of media and space in where new form of creation happens through digital instruments and chose article as subject to which digital technology is applied and had been since 2000, The result of this study is as following: First, epistemological analysis about a space of digital media in new media era requires poetical approach unlike aesthetic approach. We can endow creative action and creation process with significance and pay attention to technical method of manufacturing, stating appropriateness of perspective in digital poetics. Second, the justice of digital poetics and its basic thesis help derive analytic elements from medial space and study purpose of production, technical method, ontological characteristics, which are three perspectives of digital poetics. Third, it analyzed characteristics of example according to three perspectives above and we can analyze characteristics of spacial expression in space of digital media into potential, trans-active, and semiosis space. It would be possible through analyzing examples in digital poetic perspective to overlook new methods of design in 21th and various perspectives and possibilities of medial space design.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.244-253
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• 2012

Vincent van Gogh is a Dutch postimpressionism artist that is one of the most influential painter of the 20th century with his vivid colors and sensibility. 'The Bedroom at Arles' is the art piece that van Gogh himself had admitted to be a great artwork, which also reflects the story of his life and inner thoughts. The spacial characteristics of 'The Bedroom at Arles' are amanufactures the following. First, the space shown at 'The Bedroom at Arles' exhibits the phenomenon of undoing the law of perspective by authorizing individual existence to the objects and space, instead of fitting in the objects into the space in the order given by the law of perspective; entirely rearranging the reminiscent space from past. Secondly, the expression 'bedroom' reflects that the subject was about his own experience with the space and a representation of his imagination, which is a metaphorical symbol. Thirdly, van Gogh used strong colors and brush touches to express his subjective opinion, which aren't the actual shades of the scene, but chosen only to approach the space and objectives with his own symbolic interpretation from his heart. Through a synthetic overview of the characteristics of van Gogh's 'The Bedroom at Arles', it could be told that he holds an essential Space perception system, in hir inner self. The space is intentionally rearranged and strangely altered to form an entirely new relation, breaking the tension from the systematically stable rules and orders. 'The Bedroom at Arles' seems to express an unique and symbolic sensation and experience through the combination of its colors and spacial structure.