• 한국실내디자인학회논문집
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• 제18권6호
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• pp.133-141
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• 2009

Since Adolf Loos' Ornament and Crime was released, ornament had been regarded as a vice in Modern architecture. In Post Modern architecture, the ornamental vocabularies extracted from the classical architecture have been symbolically expressed. As a result, the significance of existence of and the use value of architecture have increased with improved intimacy to the public. However, many studies that have analyzed architecture in terms of semantics and semiotics focusing on communication between architecture and the public have admitted instability in architectural meaning because of the fundamental difference between architecture and language. At the same time, the architectural representation has encountered a lot of limitations along with the deconstruction and non-presentation theory in Post-Structuralism. Even under these circumstances, the ornamental representation can be a critical factor which makes communication possible while expressing spatial identity in this pluralistic contemporary society. Hence, this paper has established logical grounds for research based on theoretical investigation on the concept of representation, semiotics, and ornamental representation, with regard to spatial communication through ornamental representation in commercial space. Based on Peirce's Semiotics which is the typical theoretical science in terms of representation, this paper has analyzed the three kinds of signs (Icon, Index and Symbol) that he proposed. Peirce's classification of signs becomes ideal when the factors are well balanced, with room for combination instead of strict classification. It appears that his theory of signs would be useful in understanding and analyzing ornamental representation. This study on representational ornament could offer a plan for ideal communication and abundant spatial experience in the interior design of commercial space in which the expression of creative space identity is required.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.110-119
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• 2008

A lobby of a hotel is an important space by which the image of a hotel as a whole, the brand-identity, is determined. This study has researched and analyzed the special property in presentation of a landmark in a hotel lobby for its spatial factors, which affects visual cognition, and it is to provide information that can set out the foundation of space design for the appropriate landmark in a certain hotel lobby corresponding to the unique characteristics of a hotel. The regional range of this study includes the lobby spaces of 10 five-star hotels in Shanghai China and Seoul Korea. The types of spatial factors as landmarks and manifestation of those, which affect the visual cognition of the users are the range of context in this study. For this study, field-study and survey were both used in research. The results that have been concluded through this study are as follow. First, manifestational quality of a landmark in a hotel lobby is represented in its size, figure and contrast of 'shape', in its visibility and territory of 'space' and in its symbolic value and historical property of 'meaning', and each of those factors are related to the others. Secondly, the types of spatial factors in a landmark are displayed as being focused on the openness of the space or with large-scaled spatial factors. Light and lumination intensify the manifestation of various spatial factors in a landmark. Thirdly, each representational characteristic of spatial factors in a landmark, which are closely linked to each other should be controlled precisely in order to bring out functional and symbolic feature of a hotel lobby.

• 미술이론과 현장
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• 제1호
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• 디지털융복합연구
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• 제12권7호
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• pp.371-378
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• 2014

우리는 빛에 의해 사실적인 형태를 파악하고, 파악된 형태에 근거하여 이미지를 재현하는 방식으로 세계를 시각화한다. 이런 이유로 빛은 고대에서부터 현대에 이르기까지 다양한 방식으로 조형예술에 영향력을 행사해 왔다. 비가시적 실체인 빛은 재현 도구에 따라 다양하게 모사되어 독특한 환영을 투사하고, 투사된 환영은 다시 인간과 사회 문화 전반에 변화를 초래한다. 이처럼 조형예술에 있어 시대와 공간 그리고 장르를 불문하고 빛의 재현이 중요한 이유는 일차적으로 실재의 모든 공간과 공간을 구성하는 사물이 빛에 의해서 지각되기 때문이다. 이제 우리는 실재하는 빛과 구분할 수 없는 CGI기반의 빛을 마주하고 있고, 이러한 빛 재현의 특성을 살펴보고자 한다.

• 문화기술의 융합
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• 제9권3호
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• pp.509-518
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• 2023

독일 신표현주의와 중국 현대 수묵은 지리적으로 멀리 떨어진 두 나라에서 시작됐으나, 등장한 시기가 유사하며 서로 공통되는 부분이 많다.창작 태도 측면에서 두 풍격의 예술가들은 모두 외래 풍격을 받아들이고 저항하며 과거로 회귀하고 전통을 초월하여 포스트모던의 불확실성을 함께 드러내고 있다. 표현 형식 측면에서 보면, 두 화풍이 그리는 대상은 모두 형상을 갖추고 있으나 사실적이지는 않으며, 매개의 재료 특성을 활용하는 것을 중요하게 여긴다. 정신적 함의 측면에서 보면, 신표현주의와 현대 수묵은 모두 사회적 관심사를 중시하고, 상통하며 유동적인 현대성을 지닌다. 독일 신표현주의와 중국 현대 수묵의 상통성은 차이점을 지우자는 것이 아니라 차이점과 공통점이 공존할 수 있도록 해야 한다는 것이다.

• 한국지역지리학회지
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• 제19권3호
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• pp.454-475
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• 2013

대구는 2011년에 세계육상선수권대회(IAAF World Championships)를 개최하였다. 조직 위원회는 이 대회를 통해서 대구에 대한 세계적인 인지도를 강화하고, 세계적인 스케일에서 관광과 투자를 촉진함으로써 최근 대구의 경기침체를 극복하고자 하였다. 한국에 거주하는 외국인의 관점에서 쓰여진 본 논문은 문화지리 분석 방법을 혼합하여 세계육상선수권대회로 인해 파급된 관광과 투자의 영향을 평가하였다. 본 논문은 대규모 이벤트를 활용한 장소의 생산을 고찰하기 위해 세 단계의 '영토화(territorialisation)' 접근법를 적용하였으며, 특히 세계육상선수권대회가 개최되기 전과 개최되는 동안의 재현 활동(representational efforts)을 살펴보았다. 이 과정에서 웹사이트, 안내책자 등과 같은 대회 관련 홍보물이 주로 사용되었으며, 관광객을 대상으로 한 인터뷰를 통해 연구 결과를 보충하였다. 이와 관련한 문헌 자료, 대구의 역사, 그리고 Daegu 2011의 추진 배경을 검토한 결과, 본 논문은 세 가지 항목으로 도출되었다. 첫째, 비판 담론 분석(critical discourse analysis)을 통해 대회와 관련된 홍보 비디오를 분석한 결과 대구시는 세계 관광 시장에서 차지하는 대구의 지위에 대하여 불확신한 것으로 나타났다. 둘째, 관광지로서 대구의 위상에 대한 대구시 자체의 불확신은 홍보 비디오 이외의 다른 홍보물 분석에서도 여전히 나타났다. 이런 홍보물들은 대구시의 이미지와 미래를 향한 염원에 부담을 초래하였다. 셋째, 이런 논의를 확장시킨 결과 홍보물에서 보여지는 대구의 관광 경관은 실제 보여지는 경관과 부분적으로 차이가 나타나고 있었다. 이것으로 볼 때, 세계선수권대회는 대구시에 긍정적인 효과를 창출함과 동시에 앞으로 세계적인 도시로서의 위상을 확립하기 위해서 해결해야 할 과제를 남기고 있다.

• 한국디지털건축인테리어학회논문집
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• 제12권3호
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• pp.49-58
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• 2012

In Regarding urban geo-spatial information visualization in this study, visualization of physical attribute information is mostly related to the representation of spatial domain and physical objects, and visualization of non-physical attribute information has to do with visualizing citizens and their activity information in the physical environment. In particular, a citizen, one of the non-physical information attributes, is characterized by a constant mobility in the physical environment, and thus visualization of his/her activity information is vital in conveying information because this information may not be depicted with any given, fixed figures. In consideration of this difficulty, this study integrates interrelationship among urban space, human needs, social relations, and lifestyles into a 'high-tech' service where experience in time and space is possible. To analyze the web-service and visualization cases, the study has selected visualization indicators consisting of information representation objective, information representation means, and information representation result. The results of the case analysis through specific indicators set a range in information representation objective, means, and result, thereby forming a user-friendly environment in which representational results are readily available to users, and ultimately expanding the users' selection range coming with a variety of options. This study also assumes that a wide range of service provision is needed to reflect users' needs in developing urban geo-spatial service model, and the display of its results should visualize users' satisfaction to construct the best information needed to users.

• 만화애니메이션 연구
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• 통권30호
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• pp.1-25
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• 2013

이 연구에서는 2000년대 이후 한국 애니메이션에 제시된 재개발 공간을 통해 장소상실과 소외의 문제를 규명하였다. 한국사회의 현실공간은 쉼 없이 파괴되고 변화되어 왔으며, 인간은 그 위에서 실존적 갈등을 겪는다. 디지털 기술의 급속한 발전은 물리적 제한을 넘어 하나의 거대한 망을 이루지만 인간은 여전히 물질에 기반 한 존재로서 한계를 갖는다. 한국 애니메이션의 최근 행보가 주목 받아야 하는 이유는 1990년대 이후 사회 문화적 변화, 그리고 개인과 시스템의 관계를 이전과 다른 방식으로 인식하고 있기 때문이다. 이 연구에서 분석하고 있는 <도시에서 그녀가 피할 수 없는 것들>과 <소중한 날의 꿈>은 공간의 파괴적 재편성이 삶의 불안정으로 이어지는 한국 사회의 특수한 장소감을 드러내고 있다. 그리고 재현적 이미지가 부여 받는 자동적 권위를 의도적으로 비껴감으로써 실재와 이미지의 관계를 돌아보게 한다. 두 작품의 공간은 재현적으로 제시되지만 곧이어 파괴되며 인간, 또는 등장 캐릭터는 이를 무감각하게 받아들인다. 거대한 시스템에 의해 벌어지는 장소상실과 이에 대응하는 무기력한 인간의 나약함과 소외는 사회문화적 징후이다. 폭력적인 장소상실의 상황과 이에 자기마비 (Self-Anesthesia), 자기소원 (Self-Estrangement)으로 반응하는 개인을 보여줌으로써 사회적 소외뿐만 아니라 자기소외 (Self-Alienation)가 일어나고 있는 한국사회를 알게한다. 이 연구에서는 한국 애니메이션을 사회문화적 현상으로 인식하고 장소상실과 자기소외의 개념으로 분석함으로써 애니메이션의 논의를 보다 넓은 영역으로 확장하고자 하였다.

• 미술이론과 현장
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• 제7호
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• 한국콘텐츠학회논문지
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• 제12권12호
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• pp.146-155
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• 2012

이 연구는 세익스피어의 "로미오와 줄리엣"에 나타난 모순구조와 사랑의 이중성에 대한 실제 창작 작품을 분석하여 장면별 움직임의 적용과 의미연구를 시도하였다. 연구자는 작품에 나타난 모순구조와 사랑의 이중성을 versus(대(對))의미로 설정하고 이를 작품 "Romiet&Julio zwei Versus"로 창작하여 공연에 나타난 사랑의 이중성을 분석하였다. 분석도구는 라반의 동작분석방법으로 신체, 에포트, 공간, 쉐입의 네 가지로 구분하여 분석되었다. 분석결과 원작에 나타난 사랑의 이중성은 작가의 다원적 시각의 표현이며, 역설적 대비보다는 동질성의 극적구조로 나타났다. 창작 작품분석결과 사랑의 이중성은 궁극적으로 새로운 차원의 절대적 균형을 이루는 중요한 요인으로 작용되었음이 입증되었다.