• Journal of the Korean housing association
• /
• v.23 no.2
• /
• pp.115-124
• /
• 2012

The purpose of this study was to analyze the types and characteristics of space construction in temporary small-sized housing for single-person household through the understanding and interpretation of the modern flexible lifestyle. A document research method and case studies were used to analyze and classified the spatial characteristics of temporary dwelling spaces since 2000. Findings of the study were as follows: In order to conform the concept of temporary dwelling for small-sized housing units of single-person households, the types and characteristics of space construction were divided into three aspects: (1) 'Transporting' by wheel, rotation and vehicles, (2) 'Transforming' by adapting, assembling disassembling, and folding unfolding, (3) 'Wearing Carrying' by inflatable and tented type. In conclusion, this study found two types of space construction in temporary small-sized housing. The first was 'formal aspect' which was focused on the simplicity of shape, ease of deformation and lightweight of materials. And the second was 'functional aspect' which was focused on the complex space composition, the rapidity of installation and dismantling, ease of movement and transportation. This study shows that the combination of two types of the temporality will be more ideal in temporary small-sized housing planning rather than relying on just one type.

• Korean Institute of Interior Design Journal
• /
• v.23 no.1
• /
• pp.96-104
• /
• 2014

The purpose of this study is to investigate Seonyudo Park and Kkummaru in terms of haptic space. This is also an attempt to explore temporality of appearing in architectural spaces with reference to cinematic expression in which time is visible and perceptible. The film of Chris Marker's La Jet$\acute{e}$e depicts temporal relationship by indeterminate continuum, reading the space on the disjunctive relationships of visual and auditory, and aberrance of time and space. Based on the three categories that is derived from those discussions, this study analyzes the experience of non-chronological time induced by architectural devices: the bifurcation of indeterminate circulation, the readability of space on the disjunction of visual and auditory, and the border-dismantling. Therefore, this study have a relationship with the contemporary discourse on time and events as transformation and becoming, and it means to escape from the deterministic thinking to emphasize invariability and space rather than variation and time.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.3
• /
• pp.129-140
• /
• 2017

This study aims to interpret the current landscape design of the place and landscape of memory, such as post-industrial parks and memorials that have an old, aging appearance from an aesthetic perspective. The objects of the study are large parks and open spaces that have collective memories for visitors. Visitors' aesthetic experience from these places and landscapes of memory could be explained by aesthetic concepts such as the sublime, nostalgia, and melancholy. Because these aesthetic concepts are associated with past traumas, visitors may be affected morbidly. However, due to the capability of the media to form an aesthetic experience when visitors visit a given place and landscape, visitors can autonomously adjust the distance to the place of memory and gain an aesthetic experience. The aesthetic experiences through the sublime, nostalgia, and melancholy are based on temporality and irreversibility. Temporality here refers to a characteristic of memory, and time in the place and landscape of memory and is based on the irreversibility of time, as time cannot go back. Both the place memory and the memory that is recalled from the combination with visitor's past memories and knowledge are two major factors involved in the construction of the aesthetic experience in the place and landscape of memory. The results of the present study are meaningful in that this study presents a framework for a better understanding and use of both the place memory and appreciators' memory in the design process of a place and landscape of memory and also criticizes a materialistic approach that fails to take into account the visitors' memories.

• Journal of Korea Multimedia Society
• /
• v.22 no.8
• /
• pp.974-982
• /
• 2019

Contemporary narrative and documentary share across boundaries between the 'actuality' and the 'creative treatment.' The documentary has blended modes of representation from various genre to reflect the world changing. The narrative movies also has applied the historicality of 'evidence' and 'documents' from documentary to obtain the new form of realism. Boyhood shows a differentiated realism to retain both the narrative structure and the documentary temporality, containing 12 years of timeline with the limited artificial space time. Boyhood also takes the analogical concept of 'the dramatization of the actual materials' from the early documentary films.

• The Journal of the Korea Contents Association
• /
• v.13 no.1
• /
• pp.269-277
• /
• 2013

The purpose of this study is to capture how marriage migrant women, who are burdened with the luggage of the social, cultural, and historical 'past,' reconstruct their own 'experiences in reality' as subjective agents after their immigration into a new space. By applying a phenomenological method, this study analyzes the world of life in which marriage migrant women come to have experiences in the dimensions of bodilihood, spatiality, temporality, and relatedness. As a result of the analysis, marriage migrant women never think of their bodiliness as the subject of discrimination though they have some differences in skin colors and cultural aspects, and make efforts to overcome prejudices in reality withtheir pride of body. As for the spatiality, marriage migrant women attempts at a spatial turn in which they reconstruct a novel sociocultural space. With respect to the temporality, marriage migrant women recognize themselves not as passive subjects who only resent reality but as being prepared for future actively. As for the relatedness, marriage migrant women show life in which they pioneer their own areas on the basis of extended personal relations.

• Journal of Science and Technology Studies
• /
• v.12 no.1
• /
• pp.79-106
• /
• 2012

The paper discusses the issue of reality related to interaction between users and electronic figures that mediate by online game system. MMORPG(Massively Multiple Online Role Playing Game) has been known as virtual world that physically and electronically interconnect users and mechanical elements over huge area. Already game items have became a kind of reality for some users long time ago. How these figures could have been regarded as realities? It suggests to take place the temporality of practice around game world. Tremendous practices of human and machines produce their relations and these relations are reinforced self-referentialy. They could constitute their time-space frame that be situated a figure as the something in it.

• Korean Institute of Interior Design Journal
• /
• v.21 no.5
• /
• pp.162-170
• /
• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• Journal of English Language & Literature
• /
• v.55 no.1
• /
• pp.83-105
• /
• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• Journal of English Language & Literature
• /
• v.56 no.6
• /
• pp.1091-1103
• /
• 2010

Absalom, Absalom! is not only about family history but also about the nature of reconstructing history. Faulkner shows us what will happen if we give too much credit to the person having the authority; he first makes us listen to Rosa, so we just listen without doubt until we arrive at the question of the objectivity of her narration, when we get to know Sutpen's design. Meanings of "facts" change depending on who perceives the facts. The incremental repetition of the narrative in the novel resembles the process of our thinking mind and the process of history being constructed. Time is a significant element in determining the meaning of an event, not only because the event cannot be understood without its social, cultural context of the contemporary, but also because only the later events make it possible for the perceiver to categorize it in its proper place in history. Furthermore, through his narrative strategy, Faulkner suggests that imagination play a large part in recreating history. He blurs the distinction between facts and imagination, making us regard Shreve's and Quentin's conjectures as facts in several ways. The conversation between father and son, and the two brothers, which is an imagination constructed through the clues Mr Compson has offered, becomes a fact willingly accepted by the readers as well as Shreve and Quentin. The people in the past, present, and future may be very much unlikely to agree on the same event, because the gap in temporality will keep widening our perceptions. Faulkner demonstrates the nature of history in such a way that we can compare our understanding of the Sutpens' history in the earlier and later part of the novel through repetitions.

• Korean Institute of Interior Design Journal
• /
• no.25
• /
• pp.18-25
• /
• 2000

Architecture and music have reflected many changes occurring in a greater cultural realm. Specially, the concept of time and space formed from relativistic physics becomes the basis of cultural awareness, and a method to understand the world. Therefore, this study aims to suggest the possibility to integrate architecture and music, based on the close relationship between architecture and music of the 20th century focusing on time and space. Resultantly, in this study, interrelationship between architecture and music is elucidated by proving both the spatiality of music and the temporality of architecture, and such possibility to integrate the two realms helps understand the reality.