• 한국실내디자인학회논문집
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• 제21권5호
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• pp.145-152
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• 2012

Since 1966 when James Turrell completed his studies on Art, he has been working on the consistent theme of Art. For the 46 years of time, site contexts, scales, methods of light have been changed and they made Turrell's unique 'project series'. Each series has different spatial, visual-perceptual forms and characteristics from other series. The differences were caused by the given situations, but also Turrell intentionally pursued it. However, there are essential theme of art that has not changed in most of Turrell's projects. Target of this paper is to study the unchanged theme as well as the differences. The study starts with three questions: first, what is the geometrical space composition?, second, what is the visual-perceptual phenomenon?, third, what is the hidden consistent theme? This research focuses on three case projects: Wedgework, Space Division Constructions, Skyspaces. These project series are in between the early small object-like installations and the late mega-scale outdoor projects. The study found that geometrical space composition has important role to give visual-perceptual dynamism to the viewer. The phenomenological perception is connected to the questions of relationship between human and space, ultimately human and the world. Although the Merleau-Ponty's philosophy has been related to the work of Turrell in various previous studies, Cartesian 3-dimensional geometry has also crucial role to experiment a viewer's perceptual boundaries. Image of infinity is another aspect of three cases, especially Space Division Constructions and Skyspaces. Through these structure, Turrell's work lead to an ultimate question of meaning for human existence in infinite space. It is hoped that this paper is helpful for Architecture and Interior design field in which light and space are essential.

• 한국콘텐츠학회논문지
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• 제13권12호
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• pp.126-135
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• 2013

이 연구의 목적은 인테리어 분야에서 스웨덴의 현대 디자인 발전에 지대한 영향을 미친 스벤스크 텐의 철학과 인본적 기능주의 디자인의 형성과정과 특성을 알아보고자 함이다. 연구를 함에 있어 스벤스크 텐이 형성되던 동시대 건축과 가구디자인의 디자인 패러다임을 연구하고 이 고유의 브랜드가 당시 유럽의 기능주의 디자인의 흐름 속에서 어떻게 스웨디시 모던 스타일의 대표 주자로 자리 잡게 되었는지에 대한 과정을 이론적으로 분석하였다. 이를 토대로 1930년대 이후 스벤스크 텐의 독창적 정체성을 형성하는 데 결정적 기여를 한 요셉 프랭크의 가구 및 텍스타일 디자인을 동시대 스웨덴의 디자인 사례와 비교하여 스벤스크 텐이 실현하고자 한 인본적 기능주의 디자인을 형태적 재료적 측면에서 분석하고 이를 개념화하였다. 이에 대한 결론은 다음과 같다. 1)공간과 요소, 양식과 기능의 유기성, 2)아말감화를 통한 독창적 공간, 3)추상적 패턴을 통한 공간의 열린 감성, 4)공간을 파괴하지 않는 가구의 형태, 5)합리적 기능주의의 한계 극복.

• 한국경영과학회:학술대회논문집
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• 대한산업공학회/한국경영과학회 1995년도 춘계공동학술대회논문집; 전남대학교; 28-29 Apr. 1995
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• pp.185-192
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• 1995

A common control model used to implement computer integrated manufacturing(CIM) is based on the hierarchical decomposition of the shop floor activities, in which supervisory controllers are responsible for all the interactions among subordinates. Although the hierarchical control philosophy provides for easy understanding of complex systems, an emerging manufacturing paradigm, agile manufacturing, requires a new control structure necessary to accommodate the rapid development of a shop floor controller. This is what is called CSCW(computer supported cooperative work)-based control or component-based heterarchical control. As computing resources and communication network on the shop floor become increasingly intelligent and powerful, the new control architecture is about to come true in a modern CIM system. In this paper, CSCW-based control is adopted and investigated, in which a controller for a unit of device performs 3 main functions - planning, scheduling and execution. In this paper, attention is paid to a planning function and all the detailed planning activities for CSCW-based shop floor control are identified. Interactions with other functions are also addressed. Generally speaking, planning determines tasks to be scheduled in the future. In other words, planning analyzes process plans and transforms process plans into detailed plans adequate for shop floor control. Planning is also responsible for updating the process plan and identifying/resolving replanning activities whether they come from scheduling or execution.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.300-310
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• 2011

Recently, a new paradigm for the change in recognition on educational spaces and their recycling has been spotlighting a concept of community school. However in Korea, there have been few changes in physical environment since the modern education started, due to the inconsistent educational policies and bungled administration. In contrast to Korea, Netherlands has been activating educational spaces to communicate with the local community, reacting to the change in several educational policies for the last 20 years. We, therefore, need to analyze the recent community school of Herman Hertzberger who starting with the Montessori School, came to the fore with a proposal of new relational educational spaces. For linking his relational architectural philosophy to the local community and community school, he applied it to a contact area. He then organized socially sustainable spaces to promote different acts to take place, laying stress on mutual forms and behaviors between spaces and spaces, spaces and people and people and people. In addition to a structural relation with the macroscopic community of architecture, he also created opened spaces, not those where are independent or disconnected, by encouraging users to meet and act in detailed components such as stairs, walls, windows and others. This study aims to consider how Hertzberger's various community spaces in the community school have been created after the 2000s and suggest design plans for educational spaces to communicate, according to the recent educational trend aspiring towards open education.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.3-10
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• 2012

Vilhelm Wohlert is the Danish architect who designed Louisiana Museum of Modern Art near Copenhagen. Because of Louisiana Museum's popularity, Vilhelm Wohlert's name was started to be aware since 1990s. Although he is a well-known architect in Denmark, unfortunately his name is unknown in other countries. He designed various design projects from small scale furniture design to large scale museum and public projects. There are three programmatic categories in his architecture: exhibition programs including Louisiana Museum, residential program including private houses, and public programs including churches and schools. This thesis focuses on his residential design projects. Even though he designed a multi-family houses, Wohlert's house design consists of mainly one-off large private houses located in a nice natural environment. In chapter 3, the general history of his house projects was studied. Among them, the first exhibition house for Forum was explained more deeply to show Wohlert's early house design philosophy. In chapter 4, three built house projects were analyzed in detail. Analytical diagrams were used to show the key elements in the residential space. They are program composition, circulation, spatialization elements, final construction. His buildings have been compared with Alvar Aalto, Frank Lloyd Wright, and other Scandinavian architects. But there are some major differences that make Wohlert's design unique. In chapter 5, the case analysis results were summarized together to highlight the specific design characteristics found in Wohlert's residential design process. The universal spatial quality found in his residential projects can be applied in contemporary spatial designs.

• 한국비블리아학회지
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• 제22권4호
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• pp.231-250
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• 2011

본 연구는 환경학의 학문적 특성과 연구영역을 고찰하고, 환경 분야에 관한 한국연구재단의 연구분야 분류표 및 KCI 등재 학술지를 보유한 학회, KDC, DDC, NDC를 비교 분석하였으며, 이를 토대로 KDC의 환경학 분야의 분류 체계를 개선할 수 있는 방안을 제시하였다. 먼저 환경철학, 환경사회, 환경교육, 환경독성, 환경건축, 지리환경을 각각 철학, 사회학, 교육학, 약리학, 건축학, 지리학 내 하위분야로 KDC의 본표에 추가하고, 표준세구분표의 -027 보조기법 및 절차를 -0276 녹색기술, 환경 기술로 세분 전개하여 환경에 관한 측면이 집중될 수 있도록 하였다. 그리고 환경법 및 환경행정에 대한 분류기호를 재정비하여 각각 법학, 행정학 내 하위분야로 설정하여 분류자와 이용자의 혼란을 방지하도록 하였다.

• 한국전통조경학회지
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• 제41권4호
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• pp.21-29
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• 2023

문화예술의 전성기였던 북송시기는 중국 원림사에서 큰 변화를 가져 온 시기이다. 이전 당대(唐代)에 발전하였던 은둔과 사념(思念)들이 문학과 회화 그리고 예술과 결합되며 원림은 예술작품으로 인식되는 경향을 보이고 있다. 특히 북송시기 문학과 예술을 관통한 소식의 등장은 개인적 정원조성을 뛰어넘어 공공원림의 발전과 원림의 다변화에 영향을 주고 그의 오랜 폄적기간들은 지역문화와 특색을 이해하고 원림에 반영하는 계기가 되었다. 이에 본 연구는 다양한 원림을 경영하였던 소식의 사상에 주목하여 그의 폄적생활과 사상의 관계성을 통해 문인으로서의 그의 원림 경영을 살펴보았다. 이를 위해 소식이 경영한 현존하는 혜주의 백학거 원림을 중심으로 소식이 경영한 문인원림의 양태를 살펴본 결과 다음과 같은 특징과 가치를 표출하였다. 첫째, 유불도 삼가(三家)에 능통했던 소식은 백학거의 입지와 원림 구성요소에 사상과 독특한 조망 기법을 결합하여 경관을 즐기고 있다. 고택은 소박한 형태이나 내경과 외경의 결합을 통해 확장성을 지니고 있고 내경은 단일공간으로 인식되도록 구성하되 공간의 중첩적 경험과 다경관의 동시적 감상이 가능하도록 계획되어 있다. 반면 공간에는 반드시 위계를 설정하여 질서를 두고 있다. 둘째, 원림은 지역의 특징을 반영하여 아열대성 식물이 다수 나타나고 있고 건조물과의 색채적 대비를 고려하여 활색생향(活色生香)적 식재 형태가 나타나고 있다. 또한 시의적 정신세계를 원림에 투영하여 심신수양과 이상세계의 탐구적 장소로 원림을 차용하였고 거욕과 수심적 마음수행을 위한 장소로서 식재는 간결하되 특징을 잘 내보일 수 있는 수종을 선별 식재하여 원림 공간에 율동감과 입체감을 주고 있다. 셋째, 백학거는 시대별 변화를 보이고 있으나 근본적으로 후손들에 의해 소식이 조영한 원림의 양태와 원림 요소들이 현존하여 유산적 가치를 확인할 수 있다.

• 한국조경학회지
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• 제24권4호
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• pp.1-22
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• 1997

This paper was focused on the efficient management of landscape woody plants, and concerned itself with their important role in the urban environment. Based on the philosophy that there is nothing that can be done without an inventory, the purpose of this study was to develop an inventory system and iris proper application to a site for establishing a management plan Two different approaches were used, The first was to make a newly structured inventory system through collecting, analyzing, and evaluating various types of inventories used in Korea, the U. S. A., and Japan. The second approach was to apply a newly designed inventory system to the case study area. using GIS 'as a tool of spacial analysis and statistics for making decisions. The results could be summarized as follows; 1. In Korea, most of the Landscape Woozy Plants Inventories had datas which represented possession of trees, and only the work which they had done according to their traditional ways, There was no data related to the conditions, management needs, and site conditions of individual trees, This is essential information for organizing an inventory system . 2. There needs to be data which is balanced, containing tree characteristics and site characteristics. Through such information the management needs could be adjusted properly. The inventory list described in this paper was determined by botanical identity, placement condition, condition of tree, and types of work for maintaining as well as improving the condition of each tree One of the most important things was to determine the location data of each tree so as to compare data with other trees. The data gained from the field survey still had some problems because of lack of scientific method for supporting objective views, and because of actual situations, especially in the field of evaluating site conditions and management needs. All data should be revised to fit a computer data management system , if possible 3. The GIS(Geographic Information System) application showed good performance in handling inventory data for decision making. All the data used for the GIS application was divided into location and non-spatial data. Using the location data, it was easy to find the exact location of each tree on the monitor and on the maps generated by the computer even in the actual managed trite, along with various attribute data. Therefore it could be said that the entire management plan should start from data of individual trees with their exact locations, for making concrete management goals through actual budget planning.

• 한국조경학회지
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• 제21권4호
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• pp.55-68
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• 1994

It has been generally agreed that the city form especially in the preindustrial age resembled their own world view, either in the western or the eastern cultural sphere. So, we aimed to redefine the characteristics of oriental world views compared with the western one, in order to find the relative nature of the Korean townscapes. It is said that the both world views(of western and oriental) are composed of the contrastive binary concepts in common, but there seems to have been nearly contrary differences in these two world views. Wheareas the former was based on the passively segregational and oppositional dualism, the latter, on the dynamically harmonious and complementary dualism, called generally as 'Yin(陰) and Yang(陽)'. Thus, the oriental world view can be thought as the 'philosophy of the relationship', which aim to unify the dualism ultimately with the help of this relationship. So, we can assume a certain third and intermediate concept between these dual concepts of the world view, which can unify these two into the one holistic whole. And the focuses of the most traditional oriental philosophies were concentrated on this, so called, 'the third concept', namely Taoistic 'Tochu(道樞)', Buddhistic 'Kong(空)' or Confucian 'Chung(中)'. And this triple concept, including the third one, of the oriental world view revealed a more concrete form of the cosmological relationship, as the triple structure; 'Heaven(天), Earth(地), and Man(人)', in which the 'Man' is thought as the middle or the center of the world. In this manner, we could found this oriental 'triple world view' was revealed in the real topology of most places in the Korean traditional city and the whole townscape itself. So, in the scale of houses and the roads around them, we can construe the 'Maru(a central board-floored room)' and the 'Madang(a inner court)' as the 'third and intermediate space(中)' between the interior space(陰) and exterior space(陽) in the former, and between the private house(陰) and the public residential road(陽) in the former case, and between the dual parts(陰,陽) of the city representing the contrary social classes and the contrastive visual landscapes. So, we insist that this 'triple world view' represented in the townscape can be one of the most important characteristics of Korean traditional townscape. And this third intermediate spaces, which generate the active social contact and the harmonious relationship among the people, can be the most important cues, as the central places, in the interpretation of the Korean townscapes even in contemporary circumstance, which inherits its spatial and social frame more or less from the preceding one.

• 한국조경학회지
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• 제49권3호
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• pp.29-39
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• 2021

이 연구는 수용미학의 관점에서 한국전통정원인 소쇄원을 해석한 연구이다. 수용미학의 '틈'이란 '작가와 독자 간의 지평의 어긋남을 통해 생기는 틈새'이다. 작가가 의도하는 것과 독자의 기대 지평이 달라 생기는 틈을 독자가 작품의 의미를 다양하게 해석하여 작품을 구체화시킨다. 공간의 경계를 한정하지 않고, 공간의 성격을 한정하지 않으려는 것은 한국 전통공간에서도 나타나는 같은 성격이다. 작가-작품-독자의 삼중 구조를 중심으로, 작가의 측면에서 정원의 조영가의 생애와 사상, 정원에 내재한 철학을 살피고, 작품의 측면에서는 정원의 형태적 특성을 찾아보았다. 독자의 측면은 정원 안에서 풍류를 즐기는 당대의 사람들의 감상행위와 현재에 그 공간을 조명하는 현대인의 감상으로 나누어 살폈다. 먼저, 작가적 측면의 생소화는 조영가 양산보의 철학을 알 수 있었다. 소쇄원은 양산보의 삶의 철학이 장소의 이름들로 묻어나는 정원이라 할 수 있다. 둘째로, 작품의 측면에서 이원적이며 미확정적인 성격을 발견할 수 있었다. 인공의 문양이 자연의 질서에 맞춰 배치되어 자연스러움을 연출하는 이원성이 있는 정원이며, 열린 경계로 인한 억지스런 방향의 강요가 없어 흐름이 자유롭고 관념에 따라 확장하거나 나눌 수 있는 자유로움이 있는 미확정적인 공간이다. 마지막으로 독자의 측면에서 구체화는 풍류활동을 통한 감상과 현대의 시각에서 기인한 감상을 발견할 수 있었다. 이곳은 시서화를 통해 시적 표현으로 승화되는 풍류의 정원이다. 현대의 감상에는 소쇄원과 양산보의 삶을 일체화하고, 선인들의 예술성에 감탄하며, 동시에 현대인의 자세에 대한 반성을 보이고 있다. 한국 전통정원은 관념에 따라 자유롭고 감상자의 참여를 통해 그 의미가 풍부해지는 열린 공간이라고 할 수 있다.