• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.25 no.9
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• pp.1-7
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• 2011

A performance delivers the contents and feeling through human bodies and stage settings in the limited space of a stage. Among the stage settings, the lighting creates overall atmospheres effectively according to the situations of the performance such as a time flow, a change of seasons, an expression of the mental state of the performer. As the LED lighting is used more widely, the number and the size of the lighting is being decreased, which makes it possible for various devices to be used. However, just as conventional lighting devices, most of them are fixed. So it is difficult to use them at a blind spot and to replace them. To solve this problem, this article suggests a system which replaces lighting automatically and moves. As it can moved to a spot we want on a rail, and the lighting system can be replaced by itself, it can have various lighting effects, increasing the effectiveness of the performance. Additionally, it can also decrease the danger of a worker operating the lighting device located at a high place. At the mock-up experiment, its mobility and stability on a rail were tested using the wheel of the Modular Robot.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2009.05a
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• pp.218-223
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• 2009

Even though the movement of human body contruct the primary factor of Dancing Art, spectators appreciate more meaningful expression of the stage that stand above limited space and time. Lighting is a distinctive expressive mechanism of obvious line, form and rhythem of human body by marking a light and shade through artificial beams into the stage. As Dancing art is different from drama, lighting of dancing stage should be distinguished from that of drama stage.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.78-86
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• 2014

Lighting in indoor space is being changed to system lighting converged with IT technology. Office space lighting with incandescent lamps and fluorescent lamps was completed through overall lighting plan by illumination in most cases, but convergence between LED lighting and IT technology enables the technology of responding to user requirements to be realized. Optical physical quantity suitable for humans and the lighting environment in accordance with user's sensibility, based on space function and user's behavior, would contribute to the improvement of service productivity, energy reduction, and enhancement of emotional satisfaction by providing user optimized lighting solution. Thus, user-customized system lighting guidelines to be applied with integration indicators of optics and sensibility are required. For the design elements required by users, environmental factors, product characteristics, optical characteristics, and sensibility factors are drawn from the design cases for office space and the survey, and the design check list and evaluation indicators are considered to reflect the requirements in the design and requirement indicators to give integrated satisfaction for optics and sensibility are developed. Purpose-centered design method from the user's viewpoint is applied to function-focused design through scenario, and it should be applied flexibly, as the new lightning design method solutions, to the concept design stage of space lighting design and device development. This paper, therefore, presents user-customized guidelines by pursuing the optics and sensibility evaluation and design method combining the requirement conditions and scenario, to be used for lighting content development and design.

• Journal of the Korean housing association
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• v.20 no.3
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• pp.97-104
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• 2009

Today, apartment is the most common residence type and various behavior occurs in living room space of apartments. Active usage of living room in modem life increases user's desire of wanting a better environment and leads to find various methods such as remodeling. At the point when considering moving or remodeling, this study focuses on the change of lighting color as it is one of the methods for initial stage with moderate price. As living room is easily influenced by lighting, providing active environment to support inhabitant's behavior through the use of various lighting sources will cut down unnecessary remodeling costs and may be the most simple method to actualize lighting environment for inhabitant's behavior. To give change with the least effort, change in artificial lighting environment was attempted with combinations of lighting color and switching on lights according to illuminating location. This study suggested the capability of changing lighting environment of previous living room area by exchanging lighting sources in lighting equipment in order to satisfy the required behaviors of inhabitant.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.3-10
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• 2009

The relationship between light and space is fundamental In an opera stage design. In contemporary stage design, light, color and space themselves became one of tile most important elements to express and symbolize the content of the opera. This was very different compared to the primitive and medieval opera stage design in the past. The designer tried to represent the same periodical background of the opera with exact replica of the buildings as well as costumes. In comtemporary performance art, light became one the most important aspects in design. Max Keller is one of the living pioneers in stage lighting design. This thesis that is based on his lighting experiments and projects attempts to examine how contemporary stage design and light are applied and what kind of characteristics they have. One of the Wagner's opera, "Tristan und Isolde" was selected to be further analyzed. Three different "Tristan und Isolde" opera stage designs were carefully studied in terms of how three designs are differently constructed for specific same contents of the opera. This sort of comparison study is crucial when there is a strict parameter that is the opera itself. It was found that three opera stages have very different stage designs and unique ways of expressing the opera flow and contents. However, in some parts, very similar lightings were used. This sort of multi-disciplinary study can be helpful to re-think the interior environment by applying light as a fundamental medium.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.243-251
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• 2012

Theatricals have been with human's history for a long time. And It is also receiving a lot of love in modern times. The stage is recognized another space of time by spectators during the play and the production actualize fictional world by using all destination things on the stage. Therefore, the design of the stage has symbolism and the production needs semiological. The Elements expressed through the stage is composed of stage equipment, costume, lighting, stage effects and the production needs light, sound and costume designers, a stage manager, grips an advertising director for the play. The study analysis on symbolic image on the view of semigical with focused on "Vishnvovvi sad" of Anton Chekhov. The details of the study are symbolism of stage effect and costume, lighting, stage equipment. Furthermore, The study analyze way to symbolic Express korean characteristics and This research is an excellent source for students who are studying the semilogical analysis of stage.

• Journal of Korean Tunnelling and Underground Space Association
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• v.9 no.4
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• pp.377-385
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• 2007

Drivers passing through a tunnel fare some difficulties caused by the visual differences between outside and inside of the tunnel. The blackhole phenomenon at a tunnel entrance lone severely decreases the driver's visibility during the daytime. A counterbeam lighting is generally recommended for the prevention of it. This paper simulates an entrance zone with a blackhole phenomenon to verify the effect of counterbeam lighting. Even though the tunnel lighting is important, It Is not easy to consider many lighting alternatives at the stage of tunnel design due to the complexity of tunnel renditions. This paper is expected to contribute improving the visibility in tunnels, especially at the entrance zone.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.14 no.1
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• pp.7-13
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• 2000

It is important to decide the best beneficial lighting system in the space when we design the lighting at first stage. A Worksheet to simplify the evaluation of the economics of the lighting system was developed. And it was applied to a general office room for each lamp and ballast combinations, and to a factory room with a high ceiling for each HID lamp systems. When we design the lighting system using the Worksheet, we can easily evaluate the economics through converting the total cost invested on the lighting system to the present value or the annual cost.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.