• 한국실내디자인학회논문집
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• 제18권5호
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.112-119
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• 2005

This study attempts to suggest new directions of urban multi-family housing design in the recent era of information, in which the representation of publicity and privacy of the housing reflects new meanings and relationships of the current digital society. The study examines cases of Dutch multi-family housing and investigates the meanings and relationships of publicity and privacy in the building as well as unit design of the housings. Borneo-Sporenburg housing development is a good example that suggests new interpretation and design solution for low-rise, high-density multi-family housing. Thus, this study analyzes street patterns, facade design, and ways of housing unit combination in Borneo-Sporenburg housing and concludes as follows. First, public space in Borneo-Sporenburg housing, which was designed differently from hierarchical and centripetal organization of modern architecture, is divided into small units and spread into the inside, which provides high potential for personal control of space and personal programming of space by space choices. Second, street pattern and facade design of Borneo-Sporenburg housing provide visual publicity and privacy simultaneously as they maintain unity as a whole as well as articulate individual unit in many different ways and provide clues to neighboring. Streets as a public domain have self-controlled boundaries for residents and introduce voluntary use-programs for residents. Third, facades of the housing have no inter-mediate space or common space, and confront streets directly. Space in-between is composed inside the facade and extends into the streets by residents' own choices. Fourth, privacy and individuality of the housing is strengthened. Units of the housing have individual entrances, unique plan type and complicated combination of space that all together emphasize individuality of units, however they are not often notified from the outside.

• 한국콘텐츠학회논문지
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• 제7권11호
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• pp.182-192
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• 2007

본 연구는 인테리어 표현 요소로서 활용된 플라스틱 재료의 특성을 분석하고 인테리어 환경에서 플라스틱 소재를 활용한 다양한 제품디자인 사례와 제품디자인의 콘텐츠 및 조형적 특성을 분석 고찰한다. 플라스틱을 이용한 디자인제품의 개발 가능성과 국내 디자인계에서의 플라스틱을 활용한 신소재 제품개발의 대안을 모색한다. 대체 재료로서의 플라스틱의 장점과 성형이 용이함으로 해서 도출되는 형태 표현력과 조형성, 투명성으로 인한 조명 및 채광효과의 극대화, 착색이 용이한 플라스틱의 색상 표현력을 중심으로 실내공간에서 활용되는 제품디자인의 특성을 살펴본다. 이러한 분석을 위하여 플라스틱 제품이 세계적으로 선호되어 진 이유를 살펴보고 시대적으로 변화된 사회 환경과 라이프스타일에 적합한 소재로 부각되어 진 플라스틱의 물성을 고찰하며 플라스틱 소재가 지닌 조형적 특성과 디자이너들이 소재를 활용하여 콘텐츠를 발전시킨 과정을 제품디자인 사례를 중심으로 고찰한다.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.

• 한국조경학회지
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• 제17권1호
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• pp.43-54
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• 1989

최근 몇년동안 식물은 빌딩 실내디자인의 필수적인 요소가 되었다. 서울시 대형건물 28개소를 대상으로 실내조경식물의 활용실태에 관한 연구에서 다음과 같은 몇가지의 사항을 알 수 있었다. 1. 우리나라 대형건물에서 재배되고 있는 식물의 층은 Dracaena속, Monstera속, Philodendron속, Schefflera속, Washingtonia속의 순으로 나타났다. 2. 품종별로는 몬스테라(페루투사 종), 쉐프렐라 홍콩, 와싱토니아 야자, 관움죽, 디펜바키아(하와이 스노우 종) 순으로 나타났다. 3. 실내식물은 대부분이 관엽식물로 99.5%를 차지 하였다. 4. 덩굴성식물은 모두 9품종으로 나타났는데 헤데라(피트스버그 종) 에피프레늄은 지피식물로 군식으로 식재되어 가장 많이 이용되었고, 다음이 옥스카르디움, 신고니움(마크로필럼 종) 순으로 나타났다. 5. 실내식물의 대부분이 프라스틱분을 사용하였으며, 배치형태는 바닥이 전체 58%를 차지하고, 실내정원과 선반위에 배치한 것이 각각 19%, 18%를 나타내었다. 6. 실내식물의 초장은 50cm 이내가 51%를 차지하고 50cm-2.8m가 43%를 차지하였으며, 가장 초장이 긴 것은 카나리아 야자로 4m로 측정되었다. 7. 실내의 조도가 500Lux 이하로 측정된 건물이 43%나 되어 식물이 정상적인 생장을 위하여 인공조명을 필요로 하고, 인공조명을 설치함으로서 화분을 교환하는 번거로움을 피할 수 있을 것이다. 8. 대형건물에서의 실내식물의 구입목적은 탐방객을 위한 것이 88%로 나타났다. 9. 관리자들의 식물재배형태는 화분 받침대를 이용하는 것을 가장 선호하였다. 10. 실내에서 식물생장을 위해 가장 중요한 환경요소는 광과 조도, 수분이었다.유되어 있었으며 당분은 함유되어 있지 않았다.무는 3.2m일 때 10년후에는 30%가, 4.2m일 때 20년 후에 30%가 겹치게 되며, 백목련의 경우는 3.3m일 때 10년 후에 30%가 겹치며, 4.2m 일 때 30%가 겹치는 것으로 나타났다. 따라서, 10년 후까지는 수종간에 차이가 없으나 20년 후를 고려하면 느티나무의 식재간격은 다소 넓어져야 한다고 생각된다.수행하고 있기 때문에 다양한 행동의 설명력있는 이유로 볼 수 없다.때로는 민담에서도 풍수가 주제가 되는 경우가 있고, 일반적으로는 역사적 사실이나 인물을 통하여 취락민이지녀온 자연요소에 대한 인식관 또는 그러한 생활에서 나타나는 윤리관 등이 암암리에 표현되기도 한다. 민담을 통하여 우리는 주민들 의식 속에 남아있는 취락의 중요한 요소나 장소들을 찾아볼수 있고 더불어 이들을 중심으로 이루어 졌을지도 모를 생활모습들을 생각해볼 수 있다. 이러한 것들은 $\ulcorner$순응$\lrcorner$의 다른 일면 또는 때에 따라서는 극히 의도적인 $\ulcorner$표현$\lrcorner$적인 한 면모 - 그 대표적인 경우로 정원을 구성하는데 개재된 인간의 의미는 무언가를 표현 또는 표출하고자 함에 있다는 점 -라 볼수도 있을, 예로써 성리학적 사고관념으로써 집과 정사 그리고 주변 경관을 자신의 내적본직 또는 윤리적 영역으로 삼아 묘사.표현.구체화 시켜가기도 한다. 최소한 동족부락의 한두 예들에서 그러한 $\ulcorner$표현$\lrcorner$적 의도에 의한 경관구성의 일면을 확인할수 있지만 엄밀히 생각하여 보면 이러한 예의 경우도

• 디자인학연구
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• 제11권1호
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• pp.131-142
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• 1998

20세기 초반기에 왕성한 작품활동을 하여왔던 구수타브 클림트는 새로운 시대에 걸맞는 새로운 정신을 발휘하여 새로운 조형성을 추구하며 총체적인 개념으로 작품활동을 전개하였다. 클림트는 그의 작품을 통해 심미적인 요소를 추구하고자 하였으며 인간을 대우주안의 소우주로서 표출하였고, 우주만물의 생성과 죽음의 과정을 여성을 매개체로 표현하였다. 클림트의 패턴은 원, 삼각형, 그리고 나선형으로 나타난다. 원은 우주, 여성을 상징하고, 삼각형은 인간을 상징하며, 사각형은 지구와 남성을 상징한다. 나선형은 돌고 도는, 끌고 당기는 우주의 힘을 상징한다. 클림트는 음과 양, 곡선과 직선, 난색과 한색의 대비를 통하여 그의 상징성을 더욱 강화시켰다. 패턴과 색상의 사용법을 통하여 그의 우주관을 상징적으로 표현하였던 클림트의 작품은 이차원적인 성격을 매우 강하게 나타낸다. 상징성을 표출하기 위하여 장식적인 패턴의 정교함을 보여주었던 클림트의 작품은 패턴디자인에 자주 응용되어 오고 있다. 그의 작품은 홈 퍼니싱 용도와 어패럴 용도의 텍 스타일 디자인으로 응용되어 왔으며, 스테인드 글래스와 타일로 제작되어 실내를 장식하며 포스터나 악세사리 용품에 응용되어 대중들의 삶에 깊이 침투되어 왔다. 이러한 디자인들은 클림트의 패턴들의 특성을 살리면서 각 디자인용도에 부합되게 레이아웃과 기법을 달리하는 방법에서부터 클림트의 작품을 전반적으로 소화시켜 그 느낌을 간결히 추상화하여 표출하는 방법에 이르기까지 클림트의 작품이 다양하게 해석되어 응용되어 오고 있다. 본 논문은 클림트 작품에 나타난 패턴들을 연구함으로 패턴디자인의 새로운 창의적인 방향을 제시하고자 한다.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.163-171
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on heritage; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: Traditional components were most reproduced in the ornaments placed all over the restaurant and applied to the chirography of the restaurant logos, walls, and windows/doors in a big number. The methodology of transforming tradition was evenly applied to each of the spatial components. With the most transformations occurring to the lattices, there were many different ways to transform tradition including the partition, chirography, pattern, red lantern, furniture and ornament, and traditional materials that were turned into modern ones. Few examples of reinterpreting tradition were observed in the restaurant titles, inside floors, and ceilings, but plenty of examples were found in the walls, windows/doors, lighting, and furniture in a range of ways. Most of them reinterpreted the traditional forms and added altered patterns to them to remind customers of tradition. In short, all of the three ways of expressing tradition were actively applied to each component in an array of ways.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.140-147
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• 2010

The objectives of this study are, first to define the concept of restaurant total coordination and establish its components as a design strategy for planning and managing all elements comprising a restaurant, and second, to survey the total coordination of Japanese restaurants in foreign countries and examine how traditionality, which is an element for globalizing Japanese restaurants, is expressed. This study was conducted through literature review for defining the concept of restaurant total coordination and extracting its components and a field survey for analyzing the current state of restaurant total coordination and traditionality expression methods. The results of this study are as follows. First, Japanese restaurants categorized into Type A with relatively high traditionality expression(3.3 or higher) were 25% of the surveyed restaurants. These restaurants showed the traditional characteristics of Japanese style as they are without contemporary adaptation for all components of restaurant. Second, 41.7% of the restaurants were categorized into Type B with traditionality expression between 1.7 and 3.3. They were mostly popular casual restaurants at which people can enjoy Japanese food comfortably. In visual and spatial design elements, traditional and contemporary styles appeared in the equal percentage, and decoration, table setting and food design were styled according to Japanese traditions. Third, 4 cases(33.3%) were categorized into Type C with traditionality expression below 1.7. Because they were fine dining restaurants that sold high priced dishes, formality and consistency were also high. Through all design elements including visual, spatial, table setting and food design elements, elegant and simple contemporary images were dominant. The results of this study will be used as basic materials to establish the concept of total coordination that views the visual, spatial, table setting and food design elements comprising a restaurant, which were approached separately in previous studies on restaurants, together from the viewpoint of integrative deigns, and to make design strategies for globalizing Korean restaurants based on Japanese restaurant cases.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.125-133
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• 2014

While shifting from modern society to post-industrial society, social structure is changing from the period which pursues material affluence to that which pursues psychological abundance. Formation of various values along with pursuit of psychological abundance has made the illusion of standardization, massification, and popularization meaningless. Different from functionality oriented approach in the past, today's design requires diversified, multiple and integrated thinking and way in fast-changing social phenomena and stream, and lets human loose from the restriction of time and space thanks to technological development. It appears as new and various attempts along with paradigm shift of the wholle society, however the existing physical and actual things gradually transit to non-physical and non-actual things. Tendency of dematerialization has spread as far as esthetic and environmental genre on the basis of social and philosophical base along with change of consumption culture, and has displayed complex and de-genre aspect. Paradigm shift has expanded the range of communication by changing to user's independent awareness and sensitive concept, among them, light displays various changes of space by taking the role of new medium. Particularly, the light as the media expression beyond the phenomenon of light of traditional concept acts as an essential element to stimulate sensitivity and for experience as an immaterial element which shows this change of space most dramatically. This research aimed at recognizing space in complex dimension, exploring the relation between the light and space through media expression displayed in the realization of immateriality, expanding the meaning of light, and recognizing it as the possibility of creative and future-oriented light space creation which responds to technological development and social change.

• 한국실내디자인학회논문집
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• 제22권4호
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• pp.121-129
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• 2013

This study was aimed at determining the characteristics of circular multi-family housing under the assumption that the shape of a residential building affects local identity. A total of six case studies were included in this study, three case studies on idle historical industrial facilities turned into residential buildings and another three on multi-family housing located in newly developed residential complexes. The study drew its conclusions as follows. First, the design of circular multi-family housing was intended to maximize security and defense from the outside in older times. This was later developed as the terrace house style with geometric urban squares designed under the urban planning of the Baroque period. This evolved high-density housing with a courtyard in the center offering a green open space, with the aim of restoring a sense of humanity. Second, the six case studies on circular multi-family housing were analyzed from the viewpoint of each factor of local identity, including historical and cultural, landscape, and community. Third, the historical and cultural elements of circular multi-family housing are found in some unused historical industrial facilities remodeled into residential buildings. They provide new capabilities and shapes desired by society at a given time, while maintaining familiar styles and elements of history, integrating a legacy of the past into the present. Fourth, circular multi-family housing with unique shapes and structures often become landmarks of a region with their distinctive appearance against a uniform urban environment and the monotonous scenery of residential complexes. They also show a high level of visual awareness with the distinctive shapes made possible when new elements are added to a historical exterior. Finally, circular multi-family housing with courtyards in the center prompt social contact between inhabitants, especially with dormitories and rental houses for the low-income bracket, which provide a small individual units with high use common space. Circular multi-family housing are planned in a manner similar to a small village or a city. They are designed to enhance sense of community, allocating various public amenities and provide cultural and commercial spaces on the ground floor and courtyard areas.