• 한국실내디자인학회논문집
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• 제18권1호
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• pp.72-79
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• 2009

Due to characteristics of modern society including technological development, various methods engaging interaction between people and manmade environment have become one of the major issues raised in various fields of deign so called interactive design. Interactive design started as the interface between human and computer system, but now expanded to interior design field enhancing spatial experience of users. Now, many corporates are looking into interactive design to bridge the gap between company or brand identity and consumers as marketing tool. The current study investigates interactive concepts and characteristics of corporate participated public spaces and tries to define their design methods according to spatial marketing strategies. Using theoretical inquiry, cultural events and delivery of corporate identity information were defined as two major spatial strategies through cognitive or behavioral approaches. Moreover, digital, constructive, and expressive presentations were found to be most common design methods. Through this theoretical framework, 7 selected samples in Korea are analyzed in order to find detailed design characteristics. It is hoped that this study may serve in understanding current design approaches of interactive corporate public spaces and useful guideline when designing interactive public spaces not only as means of marketing strategies but even for public goods.

• 한국실내디자인학회논문집
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• 제26권2호
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• pp.101-109
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• 2017

The food and beverage spaces of modern industrial society have transformed from a simple space for meals into a space of culture, communication and experience as society becomes more complex and diverse along side economic growth. An interior designer who is rapidly rising on this flow of change is Yukio Hashimoto. While working for interior design firm Super Potato, which highlights food and beverage spaces, he was much affected by the expression methods of representative designer Takashi Sugimoto, who makes use of natural elements. By using these expression methods that make use of natural elements in his own creation of spatial ambience and elements of experience and by adding his own differentiated expression methods, he emphasizes an effective spatial expression for food and beverage spaces. The design characteristics of Yukio Hashimoto's food and beverage spaces are as follows. First natural elements like light and water are recreated as memories of nature after being established through a methodology that allows these elements to penetrate his own thoughts. Second, he pursues a hybrid design through the harmony between past tradition and current expressive techniques. Third, he expresses objets of light through a formative sense of shape expressed with light.. Fourth, he establishes an axis in the interior space by light and structure and endows a strong directionality that induces symmetric characteristics, gaze, and movement.. Fifth, he installs lights at the bottom of weighty materials and expresses a sense of floating by light. Sixth, he uses an illusion technique that makes use of the ambiguity and depth of space resulting from reflecting materials like mirrors. The study hopes that such design expression characteristics of food and beverage spaces can be used as data for interior designers to apply and develop a new design vocabulary.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.88-99
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• 2015

As architecture is designed for humans to live in based on practicality, what one experiences within such spaces is important. Such experiences are not felt only by appreciating the structure's appearance, but involve physical presence inside the space and the deepening of the individuals relationship with the space through the body's sensory perception. However, in modern times there is a much greater tendency to rely on superficial experiences by way of images or tastes rather than more meaningful human participation, while the standardization of the object universe is gradually erasing the uniqueness of experience. In light of this, the restoration of emotional and sensory spatial experiences through the design of sensory spaces can be regarded as an important task in modern spatial design. This study contemplated the meaning of emotional spatial experiences through a phenomenological understanding of such experiences, and analyzed the meaning and main factors in the creation of spatial atmosphere as a phenomenon of spatial experience. In addition, we highlighted the fact that spatial atmosphere can be applied as space design methodology by devising methods of expression through an analysis of actual examples. O.F. Bollnow's space theory and the spatial design of Peter Zumthor were the subjects of this analysis. The spatial atmosphere analyzed using Bullnow's theory is a phenomenon in which both the human and space are connected and the ensuing spatial experience embodies the emotions of both. This spatial atmosphere can be understood as a condition in which the human and space are fused together. Furthermore, coincidental/accidental meeting, mediums using potential objects, reorganization of the center due to autonomous boundaries, as well as the three temporalities were identified as the main factors in the creation of spatial atmosphere. Based on this analysis, through the identification of methods of expression for spatial atmosphere in Zumthor's spaces.

• 한국실내디자인학회논문집
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• 제16권3호
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• pp.10-20
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• 2007

The materials on the development of modern architecture in Korea are being collected and organized in a systemic fashion. However, this is not the case with the materials relative to interior design. They are gradually disappearing or being lost. In particular, no serious attempt has yet been made to determine the characteristics and historic value of the interior design of the modern bank buildings. The purpose of this study is to trace the disappearing legacy of the interior design of modern bank buildings by learning the inner space arrangements of these buildings and the characteristics of modern interior design in order to determine the historic significance of modern commercial interior design. Banks of relatively large scale were selected for the purpose of this study. They consisted of: Chosun Bank(1911) and its Andong, Wonsan and Cheongjin branches; Chosun Shiksan Banks and its Busan, Daegu and Pyongyang branches; the Busan branch of the 18 Bank; Dongil Bank, Chosun Savings Bank(1935) and their branches. The study focused on the space arrangements and design characteristics of these banks. Although they aimed at modernization in designingtheir interior spaces, the modern bank buildings were not representative of any particular style of interior design. While western style designs were prevalent, eclectic designs incorporating many different styles existed. The characteristics of the interior design of banks of the time included installation of such decorations and use of high quality construction materials for interior and exterior expressing the wealth as to create an aura of credibility for the banks, while the floor arrangements were relatively stereotyped and simplified.

• 디지털융복합연구
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• 제11권11호
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• pp.107-115
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• 2013

대전의 원도심은 인구감소 건물의 공동화 현상으로 옛 중심시가지를 비롯하여 인근 도시공간의 쇠퇴가 현저하게 진행 되어왔다. 이러한 문제를 해결하기 위해서는 개성을 살린 활성화 방안이 필요하지만, 어떤 한 시점을 기준으로 파악할 수 있는 역사와 문화적 자원을 활용하여 지역사회의 재생공간을 만들 수 있는 방안 마련도 중요하다. 대전의 원도심은 일단 그 공간을 지탱 해 온 산업에 대한 건축물 등, 지역의 건축적 문화유산이 다수 존재하고 있으며, 그 대부분은 보편적 가치를 가지고 있음에도 불구하고 아무런 활용방안이 마련하지 못한 채 피폐해져가는 실정이다. 이에 역사적으로 지역의 발전에 초석이 된 역사자원으로써 근대산업유산에 중요성과 가치를 평가하기 위한 기준을 알아보고, 활용사례를 통해 근대도시 대전의 발전에 근간이 되어온 산업유산에 가치와 활용을 재검토하는 의미로 근대 산업유산의 보존 및 대상을 활용한 도시재생 방안에 필요성을 알아보고자 하였다. 또한 행정적인 노력에 한계점을 인식하고, 이에 따른 해결방안을 모색하여 지방자치단체와 민간 등 폭넓은 사람들에 일체적 노력의 필요성을 다루고자하였다. 이는 결과적으로 지역 활성화에 있어서 역사적 근대산업유산을 활용을 통해 도시 사용자 간의 커뮤니케이션과 공동체 문화공간으로 재생되도록 정책의 연구와 산업유산을 포함하는 경관적 범위의 보존, 사회단체나 사회적 기업과 연계된 보존을 전제로 한 능동적이고 개방적인 문화재 활용정책을 마련하고, 이를 위해 소유자간의 조정 등에 노력이 전제한 정책이 필요하다는 것을 제언하고자 한다.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.40-47
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• 2012

Courtyard is evolving from the conventional one element of a building far beyond into independent peremeter of urban architecture, of which function has been darmatically upgraded from embedded traditional air fluiding, nutural lighting system into where full fledged function can be experienced so much as your imagimation reaches taking major social responsibility such as intact offline social networking which links people from neighbors, inter / extra buiding openness which allow people can communicate among othewise between themselves and artificial natural environmental emelents supplier where people resort to relaxation and natural healing. Roles of courtyard has been by far streatched out into nearby natural healing space where people can shake off their unavoidable stresses from the modern life relaxing themselves looking at the sky otherwise observe natural surroundigns such as plants, flowers and waters. Thanks to hereonto mentioned its merits, Courtyard building is widely used and seen as a center of modern urban design in residence, public bilding and urban planned buildings. Courtyard biulding is nowadays boasting their morphological diversity brought out from lots of topological variation, type variants, cross section and inter relationship with the other neighboring spaces. Hence, hereby I have been studied how above mentioned three major peremeters of courtyard has been upgraded in modern architecture comparing the period from 1960 to 1990 and the period starting from 1991.

• 복식
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• 제50권4호
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• pp.5-20
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• 2000

Through his geometric design, the Cyprus born fashion designer Hussein Chalayan raises intriguing questions about the very fact of wearing clothes. By purposefully displacing the function of each part of the clothing, such as neck line, hem line, seam, sleeve, etc., Chalayan transforms the meaning of the body that wears clothes. of the human subject as a sovereign possessor of the clothing and the visibility related to fashion. This transformation is achieved by distorting the spaces of his clothing in an unorthodox way. This thesis argues that the significance of such a practice can not be properly understood without relation to the current debate on deconstructionism under way in humanities. Instead of immediately negating the modern frame of Ideas and practices, deconstructionism asks what the assumptions for the modern regime of truth is. In this process, things that lead human beings to sovereign master of knowledge and truth such as reason, subject, body and vision are questioned. In the same context, Chalayan's design not only forces us to rethink the very function of dividing inside and outside by the clothing but also the meaning of boundary operating in numerous sites of modern life. As the human subject is not something pre-given but constructed according to the cultural representation, to which the clothing belongs, fashion can be evaluated to be an active ingredient of constructing the subject. Therefore, Hussein Chalayan's design is at the cross road between the modern and the postmodern regime of fashion.

• 한국산학기술학회논문지
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• 제13권10호
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• pp.4853-4862
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• 2012

현대도시에서 문화공간은 곧 도시생활의 중심역할을 하는 곳이라고 할 수 있다. 문화공간은 삶의 질을 높이고, 가치의 폭을 넓히는 거점인 것이다. 이러한 점에서 문화공간이 대도시 지역에 집중된 현실은 문화적 수혜의 불평등을 초래하고 있으므로, 각 지역의 기능적, 공간적인 중심인 중소도시에 문화공간과 시설을 확보해야 할것이다. 이러한 시대적 과제를 수행하기 위해 선결되어야 하는 것이 그 확보의 적정수준을 모색하는 것이며, 이릉 위해 본 논문에서는 국내의 현황을 분석하고 선진사례의 비교분석을 기반으로 확보의 필요성을 확인하고 적정한 확보의 수준을 모색해 보고자 하였다.

• 건축역사연구
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• 제20권6호
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• pp.7-20
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• 2011

In this research, the changes of spaces on Namsan-Park and of the meaning of the park from the late 1900s through the early 1908s are analyzed, and the results are provided as follows. To begin with, inserting a concept of park to Namsan provided people with limitation in understanding definition of park, which indicated finite and constrained space, so that it distracted people from using spaces on Namsan. At that time, since the park was considered as one of key factors to establish Modern city, it was distinguished to the urban structure which had existed. After then, Joseon shrine, settled in Hanyang-Park, absorbed in functions of the park, so that the term of Hanyang-Park meant an area around the shrine or a boundary of the space. In addition, the particularity of Joseon shrine sometimes discouraged people from using the park spaces as well as spaces on the shrine, which led to decline the publicity of the park. However, Joseon shrine was correlated and planned with infrastructures of the city, Kyeongsung, not only physically but also visually in that Joseon shrine played role in one of components in Kyeongsung performed as an entertaining city such as a theme park. Lastly, Seoul is no longer subordinated and dependent city but has dramatically changed as a prominent city after regaining of independence in 1945. This indicates that the entertaining function of the old city was dismantled or reduced or transferred to public spaces, especially Namsan-Park. Consequently Namsan-Park has diverse and complex characteristics like traits of Kyeongsung, playing a pivotal role in providing cultural spaces, and its spatial organization is divided and planned based on various facilities and buildings on the park. This organization has a negative effect on the city and the park by decreasing in connectivity between them.