• The Journal of Art Theory & Practice
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• no.3
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• pp.155-172
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• 2005

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.24-30
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• 2009

The Sin-Wol filtration plant was an urban infrastructure and off-limits to the public. It is recreated as a representative experiential theme park in the southwest area. It has not only provided places to relax, but has made a new model of urban park by reusing advantages. The current lack of easy access into the park area almost isolates it like a green island. The neighborhood surrounding the park does not have many physical connections to the park to be able to use it. By connecting the surrounding communities with numerous access points into the park and linking the hiking trails and bike paths, the city's need for open space and recreation would be far better satisfied than before. This would allow for the use of the valuable assets of the existing forest and open space.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.31-44
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• 2002

This study was intended to inquire into Check Pattern. The purpose of this study attempted to make a systematic investigation of the characteristic of the Check Pattern, the checker using vertical and horizontal lines which was the universal plastic element and inquire into it in terms of era, designers and combined work. By doing so, this study attempted to Investigate the phase of the Check Pattern in world fashion and further forecast the future of checker design applicable to the 21th century fashion. The result can be summarized as follows : 1. Mondrim's neo-plasticism has not only had a great influence on Op Art and Minimalism work but is deeply related to fashion and textile design. Mondrian used vertical and horizontal line ad the dualistic element. 2. The checker is estimated to have been used since the Etruian times, though uncertain. and largely divided into the Madras check and Scotland Check. Though the origin of the tartan representation of the Scotland check can not be accurately found out, it began to emerge in around the 13th century. 3. Check Pattern has began to be widely used with the development of the textile industry since 1826 and been used in every typical Sihoutto appearing in each era up to the present. And Check Pattern is used most designer in the world, who represent their own personality in their works. This study could find out that the checker is the element of Infinite applicability in the future. It is expected that the sophisticated and beautiful design using the chocker will be presented by many korean designer though the overall and systematic study of the checker.

• Journal of architectural history
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• v.17 no.6
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• pp.87-98
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• 2008

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of 'avant-garde' visual art, which is explained as formal 'purity' and 'abstraction' as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of 'avant-garde' architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the 'Universal Philosophy' including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on 'from Being into Becoming'.

• Science of Emotion and Sensibility
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• v.12 no.3
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• pp.351-356
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• 2009

The study is about how the difference in education levels can affect the subjects' use of color and find out the features of the effect. This experimental study focused on the differences in color expression using the outline picture of a painting before and after being exposed to a full-color picture of the original painting. Differences between two conditions with two different stimuli were observed and the cause of the differences was analyzed based on the number of colors and the quantity of colors and composition of the colors used by the subjects. The study precedes an experiment based on how the level of education though experience can affect the use of colors. This study is focused on the various effects of color usage by children and adults who have various degrees of visual experience. In addition, the study analyzes how design majored subject differed in the use of color from non-design majored subject and compares the use of colors by the two groups. The results showed that design majored subject tended to use less coloring patterns after seeing the stimulus of the Monet picture with more colors, and included the colors from the stimuli they were exposed to. The non-design majored subject who viewed the Mondrian painting demonstrated opposite results by using less number of colors than before seeing the stimuli. In comparison to design majored subject, the variations in selected colors and the quantity of color by non-design majored subject were not consistent.

• Journal of Science of Art and Design
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• v.1
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• pp.125-164
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• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• Korean Journal of Cognitive Science
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• v.27 no.1
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• pp.1-25
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• 2016

The present study investigated the effect size of attention and consciousness on change detection. We confirmed the effect size of consciousness by comparing the condition which combined attention and consciousness and the condition of attention without consciousness. Then, we confirmed the effect size of attention by comparing the condition of attention without consciousness and the control condition which excluded attention and consciousness. For this purpose, change detection task and continuous flash suppression (CFS) were used. CFS renders a highly visible image invisible. In CFS, one eye is presented with a static stimulus, while the other eye is presented with a series of rapidly changing stimuli, such as mondrian patterns. The result is that the static stimulus becomes suppressed from conscious awareness by the stimuli presented in the other eye. We used a customized device with smartphone and google cardboard instead of stereoscope to trigger CFS. In Experiment 1-1, we reenacted some study to validate our experimental setup. Our experimental setup produced the duration of stimulus suppression that were similar to those of preceding research. In Experiment 1-2, we reenacted a study for attention without consciousness using an customized device. The results showed that attention without consciousness more strongly work as a cue. We think that it is reasonable to use CFS treatment employing smartphone and google cardboard for a follow-up study. In Experiment 2, when performing the change detection task, we measured the effect size of consciousness and attention by manipulating the consciousness level of cue. We used the method in which everything but the variable of interest kept being fixed. That way, the difference this independent variable makes to the action of the entire system can be isolated. We found that there was significant difference of correct response rate on change detection performance among different consciousness level of cue. In this study, we investigated that not only the role of attention and consciousness were different also we were able to estimated the effect size.