• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.4
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• pp.275-284
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• 2017

As the 3D Greenery system is known to improve the urban environment, it works as new alternative for eco-friendly building and warrants further study for application to the domestic field. This study aimed to apply the design components for eco-friendly composition by investigating the spatial characteristics of the 3D Greenery System reflected in interior and exterior of buildings and to analyze the organization and design elements of domestic and foreign cases. The results showed that instances of the Greenery System tended to be a large scale and high-density development in order to expand various exterior spaces. Although its early forms were often found in such public facilities as exhibition and education purpose, cases of multi-unit dwelling have been growing. Allowing apartment residents to prefer intimate space by providing various such spaces for residential units and offering independent green spaces would induce diverse residents' lifestyles rather than monotonous design. The analysis also indicated that community space composed of various outdoor spaces and atmosphere would change life patterns of multi-housing and establish a real neighborhood through social interaction. Moreover, further investigation of the design patterns of outdoor space arrangement is needed since the Greenery system actively reflects the environmental characteristics of building sites and clearly shows a tendency to utilize natural terrain and slope in building shapes.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.71-79
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• 2014

The purpose of this study is to elucidate that photo, which has been used as original photo's purpose of information transfer in modern age, is now used as romantic reproduction which is the communication methods of architect's idea and thought through photographic vision which is beyond photograph own capabilities. The photos of Mies van der Rohe and Le Corbusier's architectural works are taken as an example for studying and analysing the way of deliverying the concept of creative work in the functional spaces in the modern era. It looked at the way of modern archirecture configuration, which architects wanted to show by pictures, such as concurrency, movement, sense of exhibition and concept of time-space and planarity on photographic vision such as multiview, movement, daily life exclusion, scenography and perspective loss. Reflecting that, I presents Le Corbusier and Mies van der Rohe's intention through photo by analyzing their picture of architecture by way of photograph techniques-camera position moving, over exposure, photomontage, silhouette technic and overlap technic. Mies van der Rohe and Le corbusier demonstrated the change and manipulation of the their architectural photos in different point of view. They express their architectural theories by photos of their works and overcome the limitation of expression of constructed building designed by them. The photos of architects's works in the case study with photos and descriptions introduce to their design concept. The design concept of the architects have become ideal concept for many contemporary architects and keep reproducing through the photos of their architectural works.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.220-227
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• 2012

After The Ramsar Convention took place in Korea in 2008, public interest in environment heightened, and the government has been allocating its budget for conserving our environment. Therefore, the present study focuses on eco-friendly spatial images particularly shown in ecological museums in Korea which recognizes the value of the environment and the ecology and tries to both protect them and alert people about it. The purpose of this study is proving what consist of eco-friendly spatial images by analyzing the expressive word of eco-friendly images and the image of space, providing a basic data for future space planning of ecological museums. To do this, the present study proceeds in three steps. First of all, the base of research in analyzing stage is firmly established by grasping general theories and terms regarding spatial image. As a second step, the composition and the characteristics of exhibition is clarified through on-spot investigation to provide comparative data for spatial image assessment in the future. Also through this step, we could understand how the exhibits are designed currently. In the last stage of research, expressive words regarding eco-friendly spatial images are extracted and used to analyze the spatial image of ecological museums. And the following three conclusions is deduced. First, the expressive words of eco-friendly spatial image that are extracted are as following: "healthy", "coexisting", "clean", "blending", "warm", "soft", "lively", "pure", "cool", "fresh ", "comfortable", "relaxed", "mild", "free", "harmonious", and "healing". As the second conclusion, color, and material, the formation which is an architectural factor did not have a great impact on forming eco-friendly image, but the color and the material did. The third conclusion was that the display with natural aspects actively utilized increased eco-friendly spatial image.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.4
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• pp.74-81
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• 2002

Ihis landscape design was proposed for the Remodeling for the National Theater of Korea Competition. Today, the National Theater of Korea, located in Jangchoongfong, Joong-gu, Seoul, asks plans for renovation. The landscape design for the remodeling of the theater is conducted as part of comprehensive programs for its renovation. The Government sought design proposals through a design competition in April, 2002. The authors proposed a landscape design for remodeling the National Theater of Korea and won first place in the competition. The landscape design covers the following a survey of the present status, a site analysis, a schematic design, and design, development. In the authors'design, heavens, humans, earth and nature are symbolically expressed within the site. The outdoor spaces of the National Theater of Korea are organically composed of the following low spaces : 1) a field of creation; 2) a field of recreation; 3) a field of meeting; and 4) a field of contemplation. The field of creation consists of a main entrance, spaces for public performance and plays, spaces with symbolic water features, and resting areas. The field of recreation is composed of various exhibition spaces. The field of meeting consists of traditional Korean-style gardens and an outdoor cafeteria. The field of contemplation features lawns, grasses and trees, and provides an area for pedestrian strolling. The outdoor spaces of the National Theater of Korea would produce an atmosphere suited to a cultural and artistic place. In the spaces, people would perceive a unique sense of place through various types of fountains, pergolas, columns, walls, light poles and bollards. An example of the true meaning of a cultural space and a resting place is provided in these spaces. The renovated National Theater of Korea would be a new type of theater with regional context, cultural meaning, spatial identity, various amenities with symbolic images, function and beauty.

• Journal of the Korea Furniture Society
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• v.19 no.1
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• pp.44-54
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• 2008

The blur phenomenon, in which the boundaries of fields or roles become vague, has become an important concept of design in the 21st century. In furniture design, the physical boundary between furniture and space and that between space and furniture has been broken down and their meaning tends to be redundant. This concept was begun by a variety of furniture designers who led the trends about 30 years ago. A progressive exhibition titled ${\ulcorner}$Living Tomorrow${\lrcorner}$, which was included in the Koln International Mobelmess from 1968 to 1970, showed that the blur phenomenon in furniture design has never actually been novel. These exhibitions and the works exhibited in the events are still recognized as progressive examples that proposed an avant-garde concept of life. They are in line with the current furniture design based on spatial concepts, which has been created by the blur phenomenon. The purposes of this study are to determine the cases of furniture design that enable the so-called spatial functions beyond the simple functions of seating, use, and display, from those of furniture design and to research their characteristics. In this study, furniture based on spatial concepts means furniture that creates 3D spaces consisting of the floor, walls, and ceiling by the blur phenomenon that occurs from the spaces among these pieces of furniture. The organization of this study is as follows; In Chapter 2, a background on the generation of furniture design based on spatial concepts is described based on the research literature of this socio-cultural phenomena. In Chapter 3, the cases of relevant furniture design redescribed. In Chapter 4, the collected cases are analyzed and their characteristics described. In Chapter 5, Chapter 1 to Chapter 4 are summarized and conclusions are given. In addition, future research is proposed.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.597-604
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• 2012

In order to actualize the third dimension form, hologram is coming to attention because it has no restriction on viewing position and is capable of natural visual expression. Although hologram technology is the best method to embody 3D image without glasses, it is not commercialized due to several technological problems. Currently used hologram technology in concerts or exhibitions are images flashed on a 2-dimensional transparent screen by HD projectors which is similar to hologram technology, not truly same. In this research, we make 3D contents for Holographic projection and use these contents to present art that can interact with spectators. As a result of the exhibition, attendance showed satisfaction on inspection form, allowing spectators to move around the screen and view it both sides; moreover, they were enterprising to interact with the videos played according to their movements. Therefore, we are able to implement a sensible and spatio-temporal artwork along with interesting space production and represent a intimate and interactive space with the public.

• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.4
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• pp.39-48
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• 2003

The Office of Korean National Railroads announced a design competition for Kwangyang Station and sought design proposals in October of 2002. The authors collaborated on a landscape design for Kwangyang Station and earned first prize in the competition. The Office decided to construct outdoor public spaces of Kwangyang Station for railroad users, visitors and staff, and local residents. The landscape design covers the following: site inventory and analysis; integration of design program and site analysis; evaluation of design concept; selecting a winning design alternative; schematic design including circulation form and spatial form; and design development including subarea design. In the design process, the authors focused on the integration and interpretation of site conditions as related to the Kwangyang Station building. They also collectively analyzed and considered the physical development of the outdoor spaces of Kwangyang Station. The following are some of the major areas in the design of the outdoor spaces of Kwangyang Station: 1) a plaza for waiting, 2) an entry area for passengers, 3) a train cafeteria, 4) a cultural plaza, 5) an image wall, and 6) a symbolic pond. The plaza for waiting is created as a place for users to wait and rest. The entry area for passengers provides an area for pedestrians approaching, passing and strolling. The train cafeteria features trains, lawns, grasses and trees. The cultural plaza is a main area representing the regional characteristics of Kwangyang. This plaza also provides an area for various public events. The image wall is meant to be an exhibition space for displaying the advancements of Korean National Railroads in sculptural image forms. The symbolic pond consists of an area with symbolic water features and several sculptures with artistic value. In the authors' design, the outdoor spaces of Kwangyang station are created as a new type of public realm with function, regional quality, original identity, cultural context, symbolic meaning and images, and beauty. The designed spaces would be one of the most representative places of interest and attraction in Kwangyang.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.5
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• pp.2360-2367
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• 2012

Architecture is widely regarded as one of important fields representing their own culture. In most cities of our nation, there has been the tendencies of negligence in keeping its record properly to be used. So, the purpose of this study is to collect the basic informations and analyse them to develop the appropriate programs for us. This study aims to offer fundamental characteristics of functional configurations in architectural museums through comparative analysis between korean and foreign museums. In so doing, it deals with the relationship between identity of museum policy and its spatial program such as archiving center, exhibition center and communication-research center. For the prove of such relationship this study attempt to compare multiple cases such as MAXXI, Nai etc. Finally this study propose that, in considering the establishment of a new architectural museum, the space program should be considered as a continuous changing process in order to make the museum as a cultural multi-complex.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.53-61
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• 2017

Cityschumers experience the urban with the visual perception while walking an average speed of 4km per hour. At this time, recognition of the color field accounts for more than 70%. Therefore, in this paper the environmental color of urban street is examined by dividing the pedestrian visual field area. In the urban street, the area of the visual field area of the pedestrian is divided into Ground Plane, Roadside, Canopy and Building Wall. In addition, we observe and color survey the environmental color of Exhibition Road, which is the northern side space of South Kensington in London, which adopted the world's first shared space. The color of the visual filed area was dominated as YR, GY, Y, PB. The Ground Pland was dominated by the YR. The reason for this is that the color of the floor has changed due to the shadows of surrounding architecture and facilities. Roadside was dominated in various ways such as GY, BG, PB, B and P. Canopy was mainly composed of PB, GY, etc. It was found that the material color of the lower part of the architecture was reflected. The architecture wall was affected by the reflectance and absorption rate of the transparent material. The first image that comes to mind when thinking about the urban is the street where pedestrians walk, feel and enjoy themselves. Therefore, it is suggested that various policy frameworks for managing and managing urban planning professionals may be different from the perceptions of pedestrians active in mega cities.