• 한국실내디자인학회논문집
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• 제21호
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• pp.3-9
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• 1999

Contemporary society that is apt to be homogeneity because of the development of computer communication and mass-media desires to seek its own identity in native realm. Contemporary Korean architecture has endeavored continuous discussion and practice to keep its identity within the current tendency. The purpose of this study is to grope the alternative for genuine 'Koreaness' to analyse the variant trend of its characteristics 1990's. The variation of Korean society in 1990's that emphasize self-regulation and individual value has influence on the realm of architecture so much. The cognition of 'Koreaness' has changed with center in the individual and small -size design group, not present accommodation of past, but continuous research to find archetype of tradition which can play a decisive role of linking present and future on the foundation of past. Many attempts and practical works that express 'Koreaness' in 1990's are performed in the area of residence works that reflect Korean emotion and life-style directly. This change can be an answer to solve the problem of peculiarity and universality in 'Koreaness'. After 1960's the main theme of 'Koreaness' was traditional architecture form, but because of the induction of Postmodernism and at once its reflection and critical attitude with limit of formal duplication, which lost its meaning. In 1990's, research for spatial form as korean emotion and image has carried out and played an important part of original expression for 'Koreaness'

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.71-78
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• 2007

This study began from the idea that new materials and awareness in the modern society demand new methods in architecture and focused on diagrams as the tool many modern architects use in their process of architectural design. Therefore, the purpose is re-finding the potential of diagrams as profilerating architectural design media by examining mentions of architects about diagrams, investigating diagrams used in design process and treating comments referring to diagrams, by redefining the meaning of the contemporary architecture and of diagrams in architecture, and by grasping the various methods of use and its process. The design process using diagrams produces synthetic or reasonable process dissimilar to previous processes. Where diagrams are mainly used as tools to relate the segregated parts compressively. On the other hand reasonable process concerns reasonable design advancement to satisfy various requirements or conditions in reality, where diagrams are used as tools offering its phase in the whole structure of various information and relating steps of design each other. Dealing synthetically in the various steps of design process with the various properties originally obtained, proposing a new type of architecture by increasing thoughts and leaving the design process open-fluid, offering process and results having the same value as design process, and satisfying requirements in reality most reasonably, diagrams working in the above-mentioned design process have the potential to narrow the schism among theory, practice and criticism in contemporary architecture.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.170-177
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• 2023

In quantum mechanics, uncertainty refers to the uncertainty of a measurement physical quantity, because some mechanical quantity can only be in its eigenstate under certain conditions, and the values shown are discrete.The exact value can only be obtained by measuring it in the eigenstate of this mechanical quantity.Uncertainty is like a double-edged sword, which has both advantages and disadvantages in art itself and in the process of artistic creation. In this study, it is divided into three main parts. First, the existence of uncertainties in contemporary art is sorted out in two broad parts, the definition of the uncertainties in art and the specific expression in contemporary art, respectively, with examples from four aspects of psychological impact, accidental presentation effect, expression form and connection with the viewer. The purpose is to understand how uncertainties are expressed in the process of artistic creation. Second, the role of the uncertainties in artistic creation is analyzed through examples, and then it is proposed that artists should use uncertainties to serve art with a scientific and rational attitude. Thirdly, the application of uncertainties in my creative practice and their influences on my painting creation. In summary, every artistic creator should take art seriously and sincerely. The relationship among the creative subject, society and life is an eternal and continuous interaction, and art is a carrier of reflection. For the problems brought by uncertainties in artistic creation, from choosing new certainty by thinking to the emergence of uncertainties, such a cycle is the process of art sublimating from life and being closely related to life.

• 한국조경학회지
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• 제25권4호
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• pp.89-106
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• 1998

This essay addresses the role of environmental aesthetics in landscape architecture : how can environmental aesthetics enrich landscape architectural theory and practice\ulcorner It begins by criticizing the predominant notions toward theory : theory as an instrumental design method, theoretical vacuum in modernism of landscape architecture, and the intimate relation of theory and practice in 18th-century England. It suggests that the expulsion of theory in landscape architectural academics and profession is nothing but an inappropriate bias. In the second place, the essay explores a remaining question : why environmental aesthetics is a part of landscape architectural theory\ulcorner I would argue that environmental aesthetics can transcend the man-nature(subject-object) dichotomy, one of heritages of Western modernity project. Here, landscape architecture meets environmental aesthetics, and both can intermediate between theory and practice. For landscape architecture is (and ought to be) a device of embodied communication, creating symbolic settings wherein an interconnection of man and nature can occur. Finally, this essay examines the aesthetics of engagement that Arnold Berleant claimed recently. This theory of aesthetic experience has a possibility of making corrections some improper conventions in landscape architectural creation and appreciation : disinterested contemplation, visual-orientedness, decoration-denteredness, and so forth. I would conclude that environmental aesthetics can be a significant theory which can correct misconceptions in landscape design and appreciation and, further, can lead contemporary practice. As the great mediator between man and nature, between theory and practice, environmental aesthetics has a profound role to play in the realm of landscape architecture, and vice versa.

• 한국조경학회지
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• 제32권1호
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• pp.69-79
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• 2004

This Paper examines theoretical terrains and design strategies of landscape urbanism which is an emerging hybrid field at the intersection of architecture, landscape architecture, and urbanism. Landscape urbanism offers alternative approaches for theory, education, and practice in contemporary landscape architecture. It views the emergent urban complex sites-post-industrial sites, landfill, brownfield, urban void, etc., not as a weakness, but as a strength. Landscape urbanism poses an understanding of landscape as an element of urban infrastructure. In this sense, the landscape is seen in the context of contemporary urban development and public works. As a complex amalgam, landscape urbanism is more than a design style it is an ethos, an attitude, a way of thinking and acting. We can chart the main characteristics of landscape urbanism such as horizontality and surface, infrastructure, process, technique, and ecology. Multilayered examples of landscape urbanism can be seen in several experimental practices such as worts of Rem Koolhaas, MVRDV, Adriaan Geuze/West 8, James Comer, etc. It is possible to summarize the productive strategies for landscape urbanism as follows : thickening, folding, new materials, nonprogrammed use, impermanence, and movement.

• 한국의류산업학회지
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• 제11권4호
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• pp.527-536
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• 2009

The purpose of this study is to consider the characteristics of fashion paradigm on contemporary fashion in pursuit of social change towards 'slowness'. As for the research methodology, literature survey has been undertaken. The results of this study can be summarized as followings. First, eco-friendly ethics towards sustainability is in taking action. The concept of 'cradle-to-cradle' is realized through reuse, recycle, organic material, and no use of chemical. Second, local diversity is revolving quality and longevity. Good quality of fashion made by artisans and specificity in local area is to be kept last. Third, people are recast in roles from simple consumers to self-made producers of their clothes. Users of clothes are more active and skilled role in practice of handmade, reform, DIY, and open-source design. In Conclusion, the fashion paradigm of 'slowness' is about designing, producing, consuming and living better to combine ideas for sense of nature's time, culture's time and people's time.

• 미술이론과 현장
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• 제10호
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.42-49
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• 2015

The aim of this study is to review the background and characteristics of Pallasmaa's architectural phenomenology. As a prominent architect, educator and phenomenologist, Pallasmaa criticizes the contemporary architecture that has been commercialized and intended to addict superficial images. He suggests the restoration of essentials of architecture related to human existence. His architectural phenomenology shows a solution to problems of contemporary architecture through focusing on architectural experiences. Pallasmaa argues 'multi-sensory architecture' to criticize architecture based on visual images and emphasizes the importance of tactile sense for architectural experiences. His phenomenology of architecture has significant meaning in that it bridges between theory and practice but also has limits in depth rather than width of theory. Pallasmaa believes that the essence of architecture can be explained as existential activities to maintain existence of our lived space.

• 미술이론과 현장
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• 제16호
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• 대한수학교육학회지:수학교육학연구
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• 제13권2호
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• pp.143-157
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• 2003

본 논문은 수학 교사 학습과 전문성 신장에 관한 보다 종합적이고 체계적인 이해를 증진하기 위한 노력의 일환으로, 우선 교사 학습을 이해하기 위한 다양한 이론적 틀을 검토하고 교사 학습과 관련하여 지식과 교수 관행간의 관계를 조사하며 탐구 공동체를 중심으로 한 효율적인 전문성 신장에 관한 아이디어를 분석한다 이와 같은 이론적 분석에 터해 교사 학습과 이에 관련한 수학교실문화의 변화 과정을 연구하는 프로젝트를 간단히 소개하고 탐구 공동체의 운영, 교사의 관점에서 교수 관행을 기술하는 것, 공동체에서의 교사 학습을 분석하는 것 등 프로젝트를 수행하면서 부각되는 문제점에 대해 논의한다.