• 건축역사연구
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• 제26권6호
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• pp.41-54
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• 2017

One of the reasons why Louis I. Kahn is regarded as a pioneer of Post-Modern Architecture is that his works are interpreted as Structuralism and Post-structuralism in architecture. A. $L{\ddot{u}}chinger^{\prime}s$ interpretation of Structuralism and M. Benedikt's interpretation of Post-structuralism; especially Deconstruction Theory, in Kahn's architecture must be proper cases for understanding this context. However, when we precisely analyze their insistence, several fallacies can be found with their incomplete grasp of Kahn's architectural thinking. The most problematic thing is that they maximize fallibility with focusing only on the analysis of superficial phenomenon, such as formal composition, disposition of space, decorative features, and so on. Therefore, the meaning of architectural essence toward Post-Modern Architecture which Kahn had pursued during his lifetime is sometimes misinterpreted. For this reason, this paper attempt to reanalyze Kahn's philosophy of architecture deeply with the view of aesthetics which has a key role in both overcoming their fallacies and illuminating the potentiality of Kahn's architecture.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.90-98
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• 2014

This study has analyzed the meaning of observation time in the course of acquiring the information of subjects who observed the space of hall in subway stations to figure out the process of spatial information excluded and the features of intensive searching. The followings are the results from the analysis of searching process with the interpretation of the process for information acquirement through the interpretation of observation area and time. First, based on the general definition of observation time, the reason for analyzing the features of acquiring spatial information according to the subjects' observation time has been established. The feature of decreased analysis data reflected that of observation time in the process of perceiving and recognizing spatial information, which showed that the observation was focused on the enter of the space during the time spent in the process of observing the space and the spent time with considerable exclusion of bottom end (in particular, right bottom end). Second, while the subjects were observing the space of hall in subway stations, they focused on the top of the left center and the signs on the right exit the most, which was followed by the focus on the both side horizontally and the clock on the top. Third, the analysis of consecutive observation frequency enabled the comparison of the changes to the observation concentration by area. The difference of time by area produced the data with which the change to the contents of spatial searching in the process of searching space could be known. Fourth, as the observation frequency in the area of I changed [three times -> six times -> 9 times], the observation time included in the area increased, which showed the process for the change from perception to recognition of information with the concentration of attention through visual information. It makes it possible to understand that more time was spent on the information to be acquired with the exclusion of the unnecessary information around.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.127-137
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• 2004

Since 20th century, the exhibition has expanded to more diverse fields and recognized as the medium which can build network among the Art, Human and society. Space design, although developed within mutual interaction and consideration of environment factors, has been treated without those background. Therefore it is straightforward to examine the exhibition space design synthetically not limit it by the analytical elements. Assuming three main mutual interactions, object human, and environment, we have attempt the typological analysis to the museum exhibition space by studying characteristics. While the exhibition space design has been analyzed through two dimensional interpretation, on this study, we structuralize diverse discussion of the exhibition space design by relation-centered and relative analysis. Therefor we examine the characteristic of design expression through typology of both physical and behavioral feature. In the conclusion, the outcome provides insights into the relationships among object, human and environment and useful measurements to designer who outline exhibition space design.

• 복식문화연구
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• 제16권6호
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• pp.1064-1075
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• 2008

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.

• 건축역사연구
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• 제12권3호
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• pp.131-148
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• 2003

This study has main purpose to understand the traditional house, not by outside researcher's but by inside dweller's view. The house in Geochang, is descendent house of Jeong-On who was faithful scholar at Chosen Dynasty. In order to understand, I restore firstly the house form and space at traditional era, 60 years ago, and every dwellers not only family members but also servants and guests, by interviewing old matriarch. One of the main rules of the house disposition is Ancester worshipping life. Worshipping floor of Anchae, main building, is located unusually in front of Shrine for Jeong-On, in order to connect all activities directly. Sarangchae, men's building, opened to the funeral mourners, is separated by a wall because women have to serve foods and wail at the backside. Space for everyday life is separated by man/woman, insider/outsider, master/subordinate. Agricultural production is also key factor of the space allocation: big storage buildings for rice crop needed to tenant farming. Both activities of ancestor worship ceremony and guest greeting need large kitchen annex area for food preparation and serving space of rear veranda floor. A number of guests visit the house: guest-greeting activity is taken place from the family pavilion, Neungheo-Jeong and Saranchae by the social position. This study show that architectural space and form of the house reflects exactly dwellers life.

• 한국실내디자인학회논문집
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• 제13호
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• pp.124-129
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• 1997

The purpose of this study is understanding the principle of space construction in traditional houses in Cheju under the premise of house being the dweller's place. I studied it by shamanist interpretatiov. First I understood the quality and meaning of space by the theory of space and shamanism. As the method of study. I studied the space theory and shamanism and had a general idea of them. And then I looked upon the concept of space as residence and analyzed the traditional houses in Cheju. The conclusion of the study is this. I considered shamanism as a part of their way of life. Thus shamanism was a chief idea of Cheju people's thought, religion, and a view of the world. Naturally shamanism was the chief principle with which Cheju people constructed the residence. Because this cultural social aspect of shamanism, it is understood and used as the principle of space construct in modern architecture of Cheju.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.95-96
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• 2007

Language is the method for communication. Semantician, G. Leech categorized the function of language as informational, expressive, directive, aesthetic and phatic one. Therefore, language can be defined as the social symbol system and the media for communication. Space, also, performs the role of symbol, information and communication. Space can be the media for the communication and the design can be logical construction process by it's arbitrary interpretation. The researcher considered the common points between verbal language and visual language as the tools for the mutual communication, tried to transit them into the 'space' as object language after analyzing 'image of poetry' as meta language, so that the old perspective of space design as function can be renewed as information system of the significant meaning delivery in the context of language's multiplicity, expandibility and changeability.

• Journal of the Optical Society of Korea
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• 제13권2호
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• pp.201-205
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• 2009

We investigated the optimum adhesive thickness for athermalizing an elastomeric lens mount in our space optics application. Theoretical results were compared with finite element solutions using two different models; discrete circular pads and discrete circular pads with columns filling the insertion holes reflecting the reality. A noticeable difference between their optimal thicknesses was observed, and physical interpretation revealed the uncertainty of prevailing athermal equations. A pilot sample was made to check our results and thermo-optical stress was assessed using an interferometer after isothermal load. This study presented insight into preliminary design guidance in elastomeric lens mounting.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.78-81
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• 2001

The lastest art is being characterised by an ever active exchange between different genre. Installation Art is an artistic attempt to integrate visually and dynamic consciousness and movement of human beings and the actual living space based on the new spatial concept of integrative Environment Approach. Through the visual and structural reflection of personal experience and movement new interpretation of space in which various activities and events take place in relation to time is realized. The methods of Installation that relate on the contemporary interior design are as follow : expression of object through deconstruction, space of every experience, enlargement of concept of space, space of interactive.

• 한국실내디자인학회논문집
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• 제9호
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• pp.127-133
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• 1996

Water is the origin of all things and has been standing as a symbol of eternity which neglectes birth and death, or time and space. We mankind , however, confronts the water pollution or moreover the situation threatening even our existence as the results of considering it as mere consumables without any study on its original meaning or nature. Now, we should search for the way to understand the substance of water and to use it in the course of nature, getting rid of the altitude of merely consuming it. Our traditional way of life is in harmony with the nature and water has been adopted in the space as the important element of the nature especially as per the theory of geomancy. Man can be inspired by the plasticity , motion, sound , and reflectivity of water adopted and harmonized in the space, and the concept such as water both of inner and outer space or hierachy of a microcosmis to be composed by the natural order which lines up a man-water-space.