• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.521-536
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• 2016

In Catholic Cathedrals, the Liturgy space is central to the worship of the church and the player. The composition of the liturgical space affects the sensitivity of the worshiper. Because this sensitivity is connected with the faith, it is a very important consideration for planning elements. In this study, the light sensitivity of the elements that identify the most important factors in changing the devotion and in liturgical space was planned to emphasize the role of light. Understanding the meaning and importance of the liturgical space determine the spatial phase and role. Therefore, to analyze the functional and emotional properties of the light, the properties, roles and conditions of the light were organized. The data was analyzed as the target of sensitivity to light. Through the case studies of light, the effectiveness and adequacy as well as the application conditions could be understood. The results obtained in this study suggest a plan for light elements applied in the liturgical space.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.212-219
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• 2005

As the development of digital and technological sophistication, architectural speculation hierarchy had been more and further diversified and brought on the changes with system of architectural color meaning. Architectural color had been influences on evocation of effect and meaning by association, had the attributes of communication with human being, in common with precision, non-verbal and non-quantitative creative field. Color could not been defined as one conclusively standard symbol and figured out in inter-relationship with correlation, mental status and interaction. Color in architecture could been promptly defined as the tool of visualization in building or structure through the essential criterion to be measured with shape, space and author's thought. In consequence, color in architecture could been re-defined as the speculation concept for real characteristics creation(color as design factors on architect and color to be expressed by program) in itself, and color supporting system as for transposition of light and space enlargement scheme. Consequently, color in architecture could been turnover from perceived color to anthropological color through the real value creation scheme in itself.

• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.47-54
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• 2011

In Alvar Aalto's designs, important factors of complex building designs including Wolfsburg cultural center are that they insinuate how to develop each architectural type and how to combine them in a building. The humane and physical background studies, and wholistic and systematic approaches are adopted to fulfill research purposes. Comparison with other buildings are necessary to reveal true meaning of this building. The result of analysis show characteristics of Wolfsburg cultural center as follows; hybrid composition of mass and elevation, spatial effect using level difference and light, massing variation of roof, and creating space for various activities. Wolfsburg cultural center designed in late 1950s has greatly affected Aalto's later works through various architectural experiments because it is the first cultural complex project that combined various architectural types. Especially library in the cultural center has shown transitional characteristics to famous fan-type libraries of 1960s while maintained features about Viipuri library. Wolfsburg cultural center act as an another type which present new principles of clustering, massing and exterior design. Its true meaning lies in forming a humanizing place beyond spatial configuration.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.2
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• pp.23-31
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• 1991

In this paper, based on the thought of the place, I tried to define the meaning of th place and interprete its landscape. The landscape of the mt. Toham with its Grotto-temple "Sokgulam" is the major object of it. The "matter and form" of the Sokgulam realizes the archetypal meaning of the grotto, birth or place of the birth, in a concrete picture. The aesthetics of the Sokgulam, the mater and form in the work of arts, comes out light harmonious with the elements: "grotto", the new foreign element of the architectural style and "orientation", the old domestic one of the Shilla that presented itself at the Chomsongdae, a kind of observatory. The interrelation of the old and new elements in work of the Sokgulam shows us also a thought as an opinion of the transference to say: the matter of the traditional subject, "grotto" and the form makes the abstract matter concretely in sight, by receiving the natural happening of the sunrise at the winter solstice.

• Journal of Korean Society of Water and Wastewater
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• v.9 no.4
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• pp.63-72
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• 1995

The mean velocity gradient, G, has been used as a principal design and operation parameter for flocculation unit. This paper questions that significance. The physical and qualitative meaning of collision efficiency factors of each transport mechanism (Brownian motion, fluid shear, and differential sedimentation) are reviewed. The overall collision frequency function is calculated by summing up the collision frequency function of each mechanism. In the collision of two particles of different size, a diagram showing the dominant region in which each mechanism is important is developed and the meaning of the diagram is discussed. The primary ramification of this curvilinear, heterodisperse approach is that G is found to be not nearly so important. Previous experimental work in which the role of G has been examined is reviewed in light of this finding.

• Asia Marketing Journal
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• v.22 no.4
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• pp.151-170
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• 2021

This case study research analyzes the cross-artistic project Connect, BTS and its relationship to transmedia branding, meaning-making and spatiality. After an overview of the argument and a section on methodology, the reader will find the analysis of the case study. Thanks to the use of a qualitative approach, this examination of Connect, BTS unveils the ways in which this initiative becomes a location that allows a reconceptualization of space that fosters plurality, exchange, and subjectivity. Connect, BTS unites seemingly incompatible fields under one project, favoring the co-creation of meanings among different artists, BTS, ARMY (the group's fans), business partners and viewers. This process has been investigated through content analysis, exploring Connect, BTS's transmedia strategies from branding to storytelling, to evaluate their efficacy in regard to brand identity, brand experience, and brand trust. The paper will also explore the variety of layers and spatial dimensions contained in Connect, BTS, which flow from art to the music industry, material and digital space, various market sectors and media. In light of this, Connect, BTS embraces a galaxy of separate semantic units into an extended liminal continuum that does not discount difference.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.84-88
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• 2007

Movie has a light, colors, and texture in the space and a design. Movie is a ovation of the 3-dimensional reality with time and space. Just like a movie, a space can also express time, personality of characters and background stories. Symbolization of a space tells philosophy and emotions, making meaning of the space abundant and consistency in entire composition of the space. Expression of beauty through order of space inside proves meaning of space. Think that can do and present to production methodology of space design to universalize ureas through symbolic productions that is based on story.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.193-201
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• 2005

In this study we analyzed and interpreted the phenomenologlcal characteristics and meanings of water space in religious architecture through field studies and phenomenologlcal approaches, focusing on the religious architecture Introducing water space in contemporary architecture. The phenomenological experience elements of the research ate light, time, place and context. As the results of this study, first, light as a phenomenological element not only induces a contrast and change between light and the shadow in architectural space and various changes of light in inner space, but also operates as an element which expresses building features outward with time. Second, time as a phenomenological perception experience makes us feel changes of the environment and physical properties and experience space visually and physically. The continuity of time shows the change of a day, night and daytime and seasons. Third, water space makes the sense of place more remarkable, connected closely with surrounding nature In outer space, and creates a new space. Fourth, water space is a contextual element which harmonizes with surrounding environment by connecting surrounding natural environment with architectural space. Fifth, water space in religious architecture is a symbolic and central element, and emphasizes the atmosphere of architectural space. In addition, it makes the people who experience water space perceive the place by triggering sensitive response.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.125-133
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• 2014

While shifting from modern society to post-industrial society, social structure is changing from the period which pursues material affluence to that which pursues psychological abundance. Formation of various values along with pursuit of psychological abundance has made the illusion of standardization, massification, and popularization meaningless. Different from functionality oriented approach in the past, today's design requires diversified, multiple and integrated thinking and way in fast-changing social phenomena and stream, and lets human loose from the restriction of time and space thanks to technological development. It appears as new and various attempts along with paradigm shift of the wholle society, however the existing physical and actual things gradually transit to non-physical and non-actual things. Tendency of dematerialization has spread as far as esthetic and environmental genre on the basis of social and philosophical base along with change of consumption culture, and has displayed complex and de-genre aspect. Paradigm shift has expanded the range of communication by changing to user's independent awareness and sensitive concept, among them, light displays various changes of space by taking the role of new medium. Particularly, the light as the media expression beyond the phenomenon of light of traditional concept acts as an essential element to stimulate sensitivity and for experience as an immaterial element which shows this change of space most dramatically. This research aimed at recognizing space in complex dimension, exploring the relation between the light and space through media expression displayed in the realization of immateriality, expanding the meaning of light, and recognizing it as the possibility of creative and future-oriented light space creation which responds to technological development and social change.