• 건축역사연구
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• 제8권3호
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• pp.65-74
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• 1999

The purpose of this phenomenological inquiry is to suggest a positive direction for Korean architecture to pursue. In order to have the inquiry, we need Heidegger's term, 'World 3.' To discuss works of art and architecture as created is also to discuss such works as creative, that is, as realities which add themselves to the creativity of a world which is never complete except by our going with the venture of creativity, which is in Heidegger's term World 3. Through it, our ground is transformed into an ever changing but ever self-recovering World. If all of this has any fundamental significance for architecture and if this significance cannot be neglected in favor of other considerations, the work of architecture does not enter into the world as a thing of abstraction or concept. Rather, as a venture, as a tension of the 'World 3,' the work of architecture constantly brings about the transformable truth of the world.

• 건축역사연구
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• 제4권2호
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• pp.79-85
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• 1995

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).

• 건축역사연구
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• 제21권1호
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• 복식문화연구
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• 제25권5호
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• 대한건축학회논문집:계획계
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• 제36권1호
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• pp.61-68
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• 2020

The aim of the paper is to verify the hypothesis that 'Deep Contextualism can be applied to architecture,' developed through Stephan Pepper's Contextualism. This hypothesis is verified by Peter Zumthor's architectures. 'Deep Contextualism' has 'the third context' between human and natural context. The third so-called "ready-to-hand" is reactivated according to contingency and creativity in Being, 'Being' is continuously revitalized. It means that quality in 'the third context, or a sense of ready-to-hand is creatively and unceasingly transformed into a new texture by creativity and contingency in Being. Also Zumthor and Heidegger agrees to a sense of ready-to-hand. Through creativity and contingency in Being his architecture widens and deepens. Zumthor's atmosphere is world 4, and his architecture is world 3 which is an embodiment of world 4 or his air.

• 한국전통조경학회지
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• 제31권4호
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• pp.51-61
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• 2013

본 연구는 '등재된 세계문화유산은 지금 얼마나 잘 관리되고 있는가?'라는 물음에서 시작하였다. 본 연구는 선행 연구 성과를 기초하여 국제적 요구사항에 부응하면서 세계문화유산의 관리특성이 반영된 관리효과성 평가지표들을 중심으로 네트워크 구조의 의사결정과정(ANP)을 통해 각 평가지표별 가중치와 우선순위를 도출하였다. 따라서 세계문화유산의 관리현황을 평가할 수 있는 평가체계가 구축되었다. 또한 이러한 평가지표들 간의 상대적인 중요도를 토대로 100점을 기준으로 변환점수 계산을 통하여 세계문화유산의 관리효과성 평가지표들에 대해 점수화하여 평가점수표를 작성하였다. 그리고 세계문화유산의 관리현황에 대해 평가할 때 최종 평가점수 등급은 매우 부족, 부족, 보통, 양호, 우수 등 5개 등급을 설정하였다. 이러한 결과를 중심으로 후속연구를 전망하였다.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2005년도 춘계 종합학술대회 논문집
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• pp.221-228
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• 2005

게임의 그래픽과 기술이 발달하면서 게임은 보다 복잡하게 되었으며 게임 캐릭터가 구현되는 게임의 세계가 보다 다양하게 구현되고 있다. 이에 온톨로지를 이용하여 효율적 게임 월드의 설계와 가이아 이론의 게임 아키텍처에 적용함으로서 게임 월드가 생태적 피드백 구조를 갖게 하여 게임 사용자의 상호 작용을 높이게 제안한다.

• 건축역사연구
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• 제6권2호
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• 대한원격탐사학회지
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• 제19권1호
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• pp.71-80
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• 2003

In this Paper, we Propose web-based Media GIS architecture using 3D geographical database and GPS-related data resulted from 45-Van. We introduce a novel interoperable geographical data service concept; so-called, Virtual World Mapping (VWM) that can map 3D graphic world with real-world video. Our proposed method can easily retrieve geographical information and attributes to reconstruct 3D virtual space according to certain frame in video sequences. Our proposed system architecture also has an advantage that can provide geographical information service with video stream without any image processing procedures. In addition to, describing the details of our components, we present a Media GIS web service system by using GeoVideoServer, which performs VWM technique.

• 한국실내디자인학회논문집
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• 제25호
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• pp.176-183
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• 2000

The purpose of this study is to show the implications of the term "digital architecture," which are realized in the current architecture. To do this, I first observe its theoretical background and then analyze the works of Marcos Novak, Kas Oosterhuis, and Lars Spuybroek, all of whom are called the typical digital architects. In particular, this study tries to show that the digital architects are introducing the non-Euclidean multi-dimensions and the cyberspace and applying the notions of liquid architecture, transarchitecture, body-building, and body-building, and body-motorized system into their works. Finally, I conclude that the digital architecture anticipates the direction of the future architecture, in which the virtual world is merged with the real world, the digital space is realized in the real space, and the human is completely harmonized with nature.th nature.