• Journal of the Korean association of regional geographers
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• v.16 no.1
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• pp.76-84
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• 2010

This study is to critically examine a variety of perspectives of seeing the interactions among space, people, and society. According to Tuan, place is a center of meaning constructed by people's experience, and its attributes consist of natural and built-up environments. Entrikin suggests a way of seeing place from a contrary perspective, that is, the subjective and existential sense of place and the objective and naturalistic conception of place. Lefebvre examines the historical transformation of social space through the dialectics among the perceived space, the conceived space, and the lived space. Social space is (re)produced and changed through the conflictual unit of the spatial triad. The project of Foucault's spatial metaphor is to tightly combine three critical concepts, power, knowledge, and space. Those concepts are not objectively existed regardless of specific times and spaces, but they are socially and culturally constructed through the networks of people under particular environments. In the following papers, it is needed to comparatively examine the various perspectives mentioned above to make a new conceptual framework of understanding the interactions among space, people, and society.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.124-132
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• 2009

Recently, 'Emotion' has attracted public attention socially and continuously in the fields such as construction, environment, design and products. Also, phenomenological concept of space through the physique in the viewpoint of the human-oriented aspect, namely, body, has been managed as a planned measure suitable for a new era and space. In this study, the author examined and analyzed the verbs and emotional vocabulary about the human body's behavior. The phenomenological space conception through body, i.e, flesh in this human centered point of view is being treated as the suitable planning measure on the new era and space. Though the epochal issue for Emotion is being attempted in many ways in various field such as product and marketing, the approach through the relationship between human and space. Therefore, we would like to see how the Emotion related to the movement that occurs in the space by analyzing the human body movement which is the subject of experiencing the space experimentally and research the characteristic of Emotion and space movement. SPSS 12.0 was used for the analysis to perform the analysis of basic statistics and Factor Analysis, and then to analyze the characteristic and emotional attribute for the experimental analysis. Comparing the activity for the 2 groups' behavior through the analyzed result with the test, active behavior was found to be higher than inactive behavior in the emotional value, and their bodies' motion showed averagely positive value in the emotional aspect; their bodies' motion was presented differently according to the attributes and amount of the people who would experience a specific space. However, the author found that affirmative and active behavior showed emotional aspect more than inactive behavior.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.6
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• pp.23-30
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• 2018

Gordon Cullen, who tried to understand urban landscapes in terms of visual attention, introduced a concept called 'Space and Infinity' in his book 'Townscape'. According to him, urban images like infinity spreading across the sky are more effectively created when we happen to see an open space while walking along a ground-level street than when we look at the sky. This study aims to quantitatively examine if urban observers pay more attention to spaces like pilotis on the bottom of a building. Thus, this study collected observers on actual urban landscape images and partially-edited images and conducted an experiment by adopting Eye-movement Tracking to find out if they actually pay more visual attention to a space like pilotis. This study selected a total of 50 people as research subjects and divided them into two groups. Image 1 was shown to one group, and Image 2 with the pilotis space edited was shown to the other group. As an experiment to find objective evidences on Gordon Cullen's 'Space and Infinity', this study analyzed difference between Image 1 and Image 2, and it was found that the domain of pilotis showed a value five times higher than the average visual attention since it attracted much visual attention although it was very small in area. That is, it has objectively clarified that people get most fascinated with a place with infinite images in the background like a pilotis space out of all the urban landscapes as Gordon Cullen's theory. In addition, the differences in visual concentration of pilotis space by sex, by subject was examined, and there was no significant difference in visual concentration of pilotis space by gender. As a result of examining the difference of visual concentration by classifying the subjects into architectural related major, the major group showed higher frequency of viewing than the non - major group.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.98-109
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• 2011

To interpret a change of discourse can be a method to understand architectural space in progress. With this idea, features of modern age which motivated sense of the contemporary were considered in this study and subsequently characteristics of contemporary space differentiated from the modern were researched. First of all, features of subject which provided a base of modern thoughts were contemplated. The word 'modern' is used in wide and various terms but basically its core conception consists of reason and universal rationality. The subject of the modem age has vision-centric features just like an ideal representation principle of perspective. Given the fact, it was confirmed that a position to become a right subject, that is, a position controlled by reason existed and that it was to guarantee subject a truth. However, the contemporary subject keeps changing with a purpose of escaping from modern characteristics. It presents a tendency to escape from rationalism of the modern age and Platonism of the ancient Greece which established a basis of western ideology. The subject-centered ideas came to focus on the structure and relationship firmed fundamentally in deep inside of subject. The contemporary subject which escaped from the stiffen ideas bears a meaning through events taking place on immanence surface and serialization. Also, the contemporary architectural space is considered to go abreast with the change and trend. In conclusion, this study proved that features of event-oriented architectural space based on the changing contemporary subject appear as process-based space, user-participated space and individual-cognition space and the like.

• Journal of the Korean earth science society
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• v.31 no.3
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• pp.267-275
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• 2010

The purpose of this study is to investigate student's Acquisition about the conception of the Earth Rotation between difference of their Spatial Sensibility. In this study, four students were selected out of 83 9th graders in Gwangju, Korea. The spatial sensibility test instrument was developed by the Korean Testing Center, and the test instruments of 'the movement of celestial bodies' were developed by Kim (1997). The results were as follows: Students with higher spatial sensibility understood precisely about the Earth's rotation in stereoscopic space. However, those with lower spatial sensibility failed to grasp the Earth's rotation and memorized it as fragmentary concepts. As for gender effect, male student with higher spatial sensibility explained the concepts clearly, while that with lower spatial sensibility has difficulty with the Earth's rotation in relation to the diurnal motion of celestial bodies. On the other hand, female student with higher spatial sensibility explained the concepts correctly in detail, while that with lower spatial sensibility had difficulty explaining the concepts in stereoscopic space. Therefore, students with higher spatial sensibility should be presented with problems in which they form their own solution. Those with lower spatial sensibility should be allowed to understand the phenomena intuitively. In developing teaching methods, female students should interact with the concepts in stereoscopic space directly, while male students should consider the celestial objects from various viewpoints. Then spatial sensibility in relation to the movement of celestial bodies would be expected to improve.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.58-67
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• 2013

Since environmental pollution emerges as an important issue, integration of academic discipline has been accomplished for development of environmental ethics. Combination of Buddhism and Ecology is the instance of this background. The background of this research is the assumption that from Seon Ecology standpoint, Buddhist temple would define conception of Seon Ecology specifically. The study based on advanced study about Seon Ecology, the peculiarity of Seon Ecology was dependent originations, order, the nature of Buddha, moderation, and impersonated nature. In addition, this study researched how these peculiarity has relation with traditional temples. This attempt has a significance in that finding a new approach of interpreting traditional temple and possibility of Seon Ecology Seon Ecology space formative concepts of traditional temple is cyclical allness, transitory balance, Denial of perfection and natural void characteristics from Seon Ecological studies. This study examined how characteristic of Seon Ecology is reflected in traditional temple, through analyzing Buseoksa-Anyangru, Bongjeongsa-Yeonsanam, Seonamsa simgeomdang, Songgwangsa woohwagak, Hwaamsa woohwaru which have remarkable characteristic of selection using above space formative concepts. traditional temple was filled with life coexisted with dynamics, independence, and equality within interrelationship between nature and architecture.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1128-1139
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• 2009

This study is on the works of Hussein Chalayan that is an expression of his idea and abstract concepts such as culture, history, time, space, nature, and humanity. The perspective of E. H. Gombrich is studied to understand the works of Chalayan who is the one of representative fashion designers in the present age. The 'schema and correction' process of E. H. Gombrich provides a suitable interpretation frame that considers the variety of works of art and the deconstruction of genre in the after 20th century. Hussein Chalayan attempts to combine clothes with other territories to show the spirit as materiality. He expresses the clothes that speaks the form of nature, symbolizes the combination of culture, visualizes time and space, and investigates the existence of human beings. Hussein Chalayan poses an endless question about the existence of human beings. He has put a question about the relationship of the human being and time, space, history, and nature. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works makes him the representative designer of the 21st century.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.27-34
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• 2009

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday's behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body's and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper's discussion are as follows; First, Tschumi's movement concept Is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it Is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi's movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.