• 한국주거학회논문집
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• 제16권2호
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• pp.55-65
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• 2005

'Movement System' is made of the interaction of user and architectural spaces related to each other in order. 'Movement' meant in movement system is possible only in the status of user and architectural space together. Movement created and disappeared by the user is not subordinated to the existing architectural space but becomes the main element of formating movement system. It is required that movement conception applied to architecture should be derived from the essence of movement and this study presents the movement system. To explain the formating process of movement system, A. N. Whitehead's process philosophy theory is at the basis and transformed in architectural aspects. On basis of these theoretical backgrounds, the process of making movement system can be explained. There are unit movement, unit object, and elements for movement process as the basic requirements for movement system, each unit is apprehended by individual operation and the nexus is composed by associative operation of apprehended units. This nexus becomes the object of a new subject and forms multiple nexus. Relation of unit movement and unit object and nexus are apprehended as the continuation and extensive continuum is made. At that time, movement with multiple phases set inbetween systems and extended multiplied. Through above study, movement system is applied to Korean traditional houses.

• 한국주거학회논문집
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• 제5권2호
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• pp.77-86
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• 1994

The attempts in pursuit of humanity in contemporary architecture brought about meaning to the 'Locality as a main conception which opens new potentiality at this confused period. Contemporary housing design should meet the indigenous ‘Locality’ of the building sites environment. An adequate adaptation to the ‘Locality’ will bring more efficient use, lower running-costs, and longer durability of original beauty of the houses. Our contemporary houses should admit general requirements at this time and they should be expressed through not only space but also form and design. Finally, we must find the direction of elevation planning of Korean contemporary houses, inquiring into design elements of ‘Locality’ in the view point of transformation and analyzing how the elements are represented in contemporary houses. This research was aimed to find how to optimize an elevation design of houses in adapting to the Korean indigenous ‘Locality’ in order to create a domestic housing design suitable for Korean life style, however, one cannot ignored elements of the Korean traditional mode of living.

• 한국조경학회지
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• 제24권3호
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• 한국주거학회논문집
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• 제14권5호
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• 대한건축학회논문집:계획계
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• 제34권1호
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• pp.53-62
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• 2018

Bulcheonwi is determined by various ways. The first is certified by the state. Kings granted posthumous names to figures such as meritorious retainers, figures whose mortuary tablets were put into Jongmyo Shrine, and venerated figures with erudition and virtue whose mortuary tablets were put into Munmyo (Korean primary Confucian shrine The purpose of this study is to understand the spatial perception of Main head families (大宗家) and Sub head families (小宗家) have been divided for several centuries. This study was conducted under the assumption that it was possible to understand the mutual influence and relationship between perception and space by examining how methods for ritual ceremonies held in Main head families were conducted in different spaces of Sub head families or the process of ritual ceremonies changed with space. Bulcheonwi rites was performed by each family's own concepts of spaces such as Jeongchim or Cheongsa For actual ritual space, An-chae, Sarang-Chae and Byeoldang was utilized. This shows that one family's conception and utilization of each space was correspondent also different family s had their own idea of utilizing different spaces. In addition depends on the family in this study, there was differences on positon of Sa-dang upon the regions or time of construction. This can be concluded as familes had their own accommodations depends on building's space layout and traditons rather than following traditional Rites book's the rules of decorum.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2005년도 제22회 학술대회 발표 논문집
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• pp.154-159
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• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• 건축역사연구
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• 제11권4호
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• pp.71-86
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• 2002

Since Modern period which is characterized by the governing of technology and capitalism, the production and aesthetics of building became a main issue of architectural discourse. Morever, Modern architecture tends to be a kind of media in which the visual image of building plays a far more important role than building itself. Institutionalized discipline of Architecture in modern system set aside the dwelling aspect of building and destructed close relationship between dwelling and building. This study analyzes the essential meaning of dwelling with a viewpoint of building and vise virsa in order to have a deep reflection on contemporary architecture and modern crisis of dwelling. For this purpose this study first reviewed linguistic and mythical narratives on the origin of dwelling and building. Secondly, reviewed the thought of Heidegger on dwelling and building and his thinking on authenticity of dwelling. Thirdly, reviewed drastic change of idea and reality of dwelling recent days, especially from settlement to nomad. Lastly reviewed E. Levinas' thinking on bodily dwelling or primordial mode of dwelling before poetic dwelling of Heidegger. With these review we can figure out following things on dwelling and building. Physical building or its visual image can not take the place of dwelling in itself. Dwelling and Building happens simultaneously and understood as an event in life world. Today's alienation of dwelling from building reduced our conception of architecture to a physical setting and mere technique. Building must be a ontological and cultural phenomenon beyond physical building. Nomad in this age of information and globalization may be a new mode of dwelling. But it can not exclude traditional way of dwelling on concrete space, because human being as a physical being can not abandon dwelling place that gives a primordial comfort with and within our body.

• 동양고전연구
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• 제49호
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• pp.357-392
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• 2012

작가는 작품을 통해 자신의 사유(思惟)와 지향(志向)을 드러내기 마련이다. 그런데 그동안 창암(蒼巖)에 대한 연구는 서론과 작품의 형태미를 중점적으로 논의하였을 뿐 작품에 내재되어 있는 사유에 대한 논의는 거의 이루어지지 못하고 있었다. 특히, 창암의 작품은 이광사(李匡師)의 서풍을 계승하면서 복고주의적 성향이 매우 강해서 같은 시기 활동하던 북학파의 영향이 크지 않음을 알 수 있다. 본고에서는 창암의 이러한 서풍을 '복고적 성향'이라고 명명하고, 그의 이러한 복고적 사유가 학서(學書) 과정과 작품에 나타난 구체적 양상을 살펴보았다. 창암은 진적(眞跡) 친필(親筆)자료들을 중시하면서 행초서(行草書)를 즐겨 썼다. 그러나 학서 과정에서 항상 필력을 강조하여 한위(漢魏)의 글씨에 근본을 두었고, 행초서를 쓰더라도 반드시 해서(楷書)를 먼저 익혀 그 필력을 얻어야 한다고 강조하였다. 또한 창암은 평생 동안 왕희지(王羲之) 서풍의 소해(小楷)로 된 작품들을 많이 남겼는데, 이는 조선후기 동국진체(東國眞體)의 서가들이 왕희지의 해서, 특히 소해를 전범으로 하는 것과 일맥상통한다. 이러한 경향은 마음의 스승인 이광사의 영향에 기인한 것으로 보인다. 그러나 창암은 또한 왕희지의 법첩(法帖) 글씨에 부족한 필세를 보완하고자 끊임없이 노력한 흔적들이 발견된다는 점에서 다른 서가들과는 다른 양상을 보인다. 그는 먼저 서예이론에 있어서는 한위(漢魏)의 고법(古法)을 중시하여 채옹(蔡邕)과 종요(鍾繇)를 근본으로 삼고 있음을 확인할 수 있다. 또 대해(大楷)에 있어서는 <구루비(??碑)>의 필세가 가미된 <예학명(?鶴銘)>과 위(魏) 무제(武帝)의 글씨, 안진경(顔眞卿)의 <대당중흥송(大唐中興頌)>과 김생(金生) 글씨 등을 끊임없이 연마하였다. 특히, <구루비>와 <예학명>의 필의(筆意)를 이용한 그의 말년 작품은 기본적으로 해서인 <예학명>의 자형(字形)에 <구루비>의 구불구불한 형세(形勢)를 취해 자신의 독특한 서풍을 보여주는 경지에 이를 수 있었다.