• 대한건축학회논문집:계획계
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• 제34권10호
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• pp.55-61
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• 2018

Changes in consumer purchasing patterns due to construction of large Western-style commercial buildings and introduction of new purchasing methods in South Korea in the 1990s led to a gradual decline in traditional markets. Under such a new environment, Yukgeori market, one of Korea's exemplary markets, has continued to develop and survive, while maintaining the traditional market form of Korea, both physically and operationally. Therefore, to find the characteristics of spatial configurations supporting the revitalization of traditional market, we deduced social attributes of spaces in street network of Cheongju city and the neighborhood including Yukgeori market by calculating the depths of nodes in the network using analysis models based on space syntax. The results illustrated that long street with the function to attract people and acts as a bridge of traffic and communication between highly modernized commercial area and traditional market can lead to continuous win-win development of both areas and the revitalization of traditional market through the promotion of social activities in the market. We expect that sound and sustainable development of contemporary cities, which lost tradition, will be achieved through the results of this study.

• 대한가정학회지
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• 제28권3호
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• pp.67-85
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• 1990

The purpose of this study was (1) to investigate changes in house and kitchen forms and behaviors in the kitchen area of Korean family houses from the Yi-dynasty to the present, and (2) to develop a housing conceptual framework on the basis of the ecosystem approach through analysis of changes in Korean family houses. The documentary research method wad used fro this study. The major findings were that the traditional Korean houses were composed of separate buildings and had various floor levels with the maru(a wooden floor) as the center of the open plan. The introduction of foreign style house forms from the era of enlightenment, in the year 1876 to the Korean war in 1950 changed traditional Korean houses into Korean-western style houses. More recent increased population and urbanization accelerated to change from the traditional Korean house form to an apartment style. At the present time, however, many kinds of house forms, from a highly modernized style with convenient facilities to a primitive style, which cannot even meet the basis needs of daily life, coexist together. The Kitchens in traditional Korean houses had no plumbing, drainage, or work centers. They had simple adobe furnaces which were used for cooking and for heating the ondol, a kind of panel heated floor by which the heat and smoke run under the floor to the chimney. This made the kitchen floor level lower than the floors of other spaces. The residents entered the kitchen through the madang(atrium). The influence of the western style kitchen, the development of technology, and improvements of nation-wide economic status have made today's kitchen space covenient and hygienic. The floor level of the kitchen was raised to the same level of other spaces. Formerly the major function of the kitchen was raised to the same level of other spaces. Formerly the major function of the kitchen space was cooking and heating floors. This had changed, and the kitchen is now, the place for family and social interaction. A housing conceptual framework was developed on the basis of these findings.

• 디자인학연구
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• 제15권4호
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• pp.189-200
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• 2002

태초의 인간은 자연으로부터 정신적ㆍ물질적 만족을 얻으려 하였다. 그러나 인간은 자연에서 그러한 만족을 얻지 못하자 문명을 형성하게 되었고, 거기서 인간만의 독특한 환경을 발전시키며 자연성과 대립하여 왔다. 이러한 대립의 과정에서 인류는 생태적 위기문제를 끌어안게 되었다. 문제를 해결하기 위한 대안으로 많은 분야에서 생태학적 패러다임에 관심을 갖기 시작했으며 사람이 살아가기 위한 필수적 공간디자인의 영역으로 관심이 집중되고 있는 실정이다. 이 가운데 한국의 전통건축은 한국의 자연과 풍토에 적합한 생태적 특성을 지녀왔다. 특히 한국의 전통건축을 생태학적 패러다임에서 논의해 볼 때 그것은 서양의 건축물처럼 독립된 개체적 구조물이 아니라 인간과 함께 자연 생태계의 일부로 함께 존재하는 전체적 화합물이라는 인식으로 주요 연구대상이 되어왔었다. 그 가운데 특히 한국 전통의 창문은 자연을 수용하고 받아들임에 있어 생태적 본질을 가장 잘 유지한 예의 하나로서 생태학적 공간디자인의 연구대상으로 매우 중요한 의의를 가지고 있지만 실제로 오늘날의 한국현대 건축의 관심에서 밀려나 있음은 지극히 안타까운 일이 아닐수 없다. 본고는 이러한 점에 초점을 맞추어 한국 고유의 전통인 창과 문을 새로운 공간디자인의 연구대상으로 현대화시켜 그 영역을 확대시키는데 목적을 두었다.

• 한국연극학
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• 제48호
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.163-171
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• 2016

The objectives of this study is to analyze the characteristics of Chinese traditionality expression at restaurants in Beijing area. 12 restaurants were selected and visited for the investigation research. The results were as follows. First, traditional reproduction was found mainly manifested through the reproduction of traditional ornaments, in particular, the facade and interior element ornaments. Second, Traditional transformation was mainly manifested in replacement material while changing the shape slightly, or to stretch or shorten prototype shape and other negative deformation methods which did not largely out of the scope of traditional reproduction. Third, Traditional reinterpretation was expressed by abstract, symbol or metaphor on designs, usually people can not directly recognize the traditional archetype. When compare with traditional reproduction or traditional transformation, traditional reinterpretation was relatively fewer, however, in this study the traditional reinterpretation and traditional transformation have same numerical result. Reinterpretation as a positive performance method of traditional modernized, it was encouraging the phenomenon, especially in the ceiling design. Chinese traditional cloud patterns have been three-dimensional and diversification of use. And in the wall design, traditional elements have been extremely simplistic or adopted a wide variety of traditional elements, it may be preferred in diversity. In addition, furniture was tinge traditional elements in modern form, lighting was added symbolize color or picture on the traditional lighting which shape was simplified to emphasize space's traditional. But the facade, sign board, floor, and window element seems the range of variation was not wild, promote more use the positive traditional reinterpretation method.

• 디지털융복합연구
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• 제11권4호
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• pp.431-441
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• 2013

본 연구는 한국전통 "방위신상"에 담겨 있는 이미지와 상징성을 재해석하여 현대생활에 효과적으로 응용하기 위해 디자인하는 것에 그 목적을 두었다. 이론적 고찰은 한국 전통의 대표적인 "방위신상"인 "사신도", "십이지신상", "사천왕상" 등의 '지킴이'들의 형성 배경과 유래를 살펴보고. 한국 전통 "방위신상"을 현대생활의 활용에 맞게 디자인화 하는 작업의 필요성을 서술하였고, 이를 토대로 '지킴이' 시리즈의 제작과정에 대해 기술하고, 한국전통 "방위신상"은 과거와 현재를 연결시켜주는 매개체이며 민족고유의 독창성을 널리 알리는 귀중한 자료라는 것을 시사하였다. 그리고 재해석한 '지킴이' 시리즈는 스마트환경 하에서의 활용가치를 제시하였다.

• 한국안광학회지
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• 제15권2호
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• pp.131-136
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• 2010

목적: 민화의 한국적 이미지를 활용한 안경 소품디자인의 연구개발. 방법: 전통민화에 나타나는 생동감 있는 색채와 독특한 조형미를 분석하고 그러한 미의식을 안경클리너와 안경케이스에 적용하여 현대적 미감을 가진 디자인으로 재해석한다. 특히 안경클리너와 안경케이스의 넓은 평면은 시각적으로 한국적 특징을 표현하기에 적합한 공간을 가지고 있다. 결과: 현재 민화는 세계적으로 주목받는 문화콘텐츠이다. 그러므로 민화를 활용하여 제품의 이미지를 문화적 이미지로 변화시킴으로써 '문화적 소비'를 촉진할 수 있다. 결론: 민화의 예술성을 접목한 안경소품 디자인은 안경 제품의 이미지에 긍정적인 영향을 줌으로써 세계시장에 안경소품디자인 시장이 확대될 것을 기원한다.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.225-232
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• 2013

The spatial separation of male's and female's area due to the law of 'Naeoei' is one of the trademark features of residence by the building principle of 'Confucianism' in the upper class house in the late of the Chosun Dynasty. Thanks to modernized agriculture and commerce, the residence of 'Sinheung-Yangban' developed. And they were influenced by the economic and living characteristics than traditional custom. So the residence of 'Sinheung-Yangban' is very important in terms of the course of modernizing of the korean traditional residence. Researcher figures out the influences of the law of 'Naeoei' in residence and the characteristics of male's and female's field in terms of daily life with investigating the residence of 'Sinheung-Yangban' as the upper class house in the late of the Chosun Dynasty. Through this, the goal of this study is to find the properties of male's and female's field of upper class houses in the late of the Chosun Dynasty. With this study, the followings are the characteristics of male's and female's spatial composition of upper class houses in Gyong-gi Province in the late of the Chosun Dynasty. First, the traditional law of 'Naeoei' plays a primary role as the principle of building of upper class houses in Gyong-gi Province in the late of the Chosun Dynasty. With a natural result, there is a clear spatial separation as the male's and female's social role. Second, 'An-Chae' and 'Sarang-Chae' as male's and female's living space are separated physically, but real living life tends to be syntagmatically made with 'An-Madang' as the center. Third, spatial integration of 'An-Madang' as the center results in the development of architectural connection factors of 'An-Chae' and 'BaKat-Chae' adjoining 'An-Madang', facing 'Toei-Gan', 'Maru', and 'door'. Forth, the boundary of male's and female's areas is relatively clear between dwellers and visitors, but on the other hand, the separation of male's and female's spaces between family members has little significance.

• 가정과삶의질연구
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• 제22권5호
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• pp.59-73
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• 2004

Since 1980s' Korea had a great change on the housing culture by the supply of multi-family housing stock both on the macro-social and micro-social aspects. The purpose of this study was to examine the changes and the characteristics of housing environments which were estimated its modernization, and to examine the personal life under the change of housing environments. So I would like to revaluation the characteristics of modernization between the 1980s' and 1990s'. Therefore references were made to various papers, reports, the statistical data, newspaper reports, advertisements and magazines during that period. As a result, this paper came to the remarks as follows: 1. The success of modernization on the housing environments since 1980s' was the Quantitative growth of housing supply by multi-family housing. In spite of this, the Quantitative growth of housing supply and the improvement in Quality like housing space per person had the characters which was 'out of valence on the division'. 2. The Qualitative improvement of modem housing life by the development of housing industries could be said the improvement owing to develop of facilities and equipments. The introduction of up-to-date facilities and equipments realized the convenience and the rationality of living in the house. Although the improvement on the physical things deteriorated the modernized spaces to uniform things by commercial strategies. 3. The life in the multi-family housing which gives protection to personal privacy was settle down on the extremely individualized life without common things within the neighbors. Multi-family housing which was a production of process of modernization came true the growth in an appearance and the variety in the inside, but for the aspect of residents' everyday life in the multi-family housing, the Korean traditional relationship was collapsed and a sense of incompatibility within the residents was created.

• 미술이론과 현장
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• 제16호
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.