• 한국실내디자인학회논문집
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• 제16호
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• pp.22-28
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• 1998

The purpose of this study is to analyze the architectural space of modern and contemporary architecture which has been changed by the aesthetic cognition on space. The intention of considering architectural space aesthetically is to convert the viewpoint of seeing space as simple physical structure into different viewpoint of regarding 'space' as 'cultural place' However this does not means to apply aesthetic theory to architectural space. The aesthetic cognition on space is one of the main subjects of the expression of art from ancient to today however the appearance of space concept as architectural aesthetics accelerated by G. Semper theory after the latter half of 19th century. On the standpoint of perpetuity in architecture the aesthetics of scientific rationalism in modernism based on the reasonable thinking regards the variety of inherent characteristic in architectural space as 'Transferential Space'. On the other hand, in regarding to architectural trend, the nature in architectural space has been considered as 'Existential Space' starting from the conscious construction of environments to help human existence in the existentialism. The Conclusion logic of follows as belows; first, the concept of space structure in architecture has been exchanged from Enclosed Space to Topological Space. Second, the concept of architectural space has been changed and developed to the Deterministic, Profound, Dissipative, and Recognizable Space according to the change of expression in architecture.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.104-111
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• 2004

The purpose of this paper draws out a theoretical frame for dwelling space from Heidegger's thought, "Dwelling" and analyze Luis Baraggan's housing design as an instance of the practical expression of them. The 'creative inculturation' of dwelling space is possible through familiarity by disclosuring in time and place. Heidegger suggests that place as existential space represents the occasion revelation of incidents in Dasein. He interprets the dwelling as creative openness in which elements comprising this world face and interact with each other into one. Openness may be referred to a dynamic coordination in which the each and the world sustain each other under incessant mutual tension, but not sticking each other. Creative inculturation is determined according to how deeper conversation was made internally. To complete the process properly requires determining several relationships involved in the land area.land area.

• 교육시설 논문지
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• 제18권2호
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• pp.15-23
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• 2011

The purpose of this study is to analyze the methods applied to educational facilities of Steven Holl's architecture, especially focusing on sensible elements in the public space. Steven Holl has realized distinct space by applying very specific and limited concept. such as perspective space, color, light and shadow, time duration and perception, haptic realm, and proportion & scale. Education facilities designed by Steven Holl, are influenced the sensible aspects of space, form, materials, patterns, and other various sensible elements. Beyond the limits of color and sculptural vocabulary, Steven Holl utilizes a variety of ways which shown in educational facilities design and is identified by the emotional phenomenology of perceptual experience. Various elements in the public space are reinforced through light and materials to make experiential space in the educational facilities. This study used a composition of space that combines various sensible elements, meanings, and senses to examine how Steven Holl's architecture can mediate and reproduce user' emotional experiences and discover the existential relationship between space and user in public space of educational facilities.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.226-231
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• 2008

Indoor space becomes limited by each factor engirdling and defining infinite empty space. Those factors appear as physical ones called wall, floor, and ceiling, and earn existential value as a living space by placing furniture in the space organized in this way. However, it is not easy to find a clear harmony between the space and furniture. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. This study is to be unfolded by assuming that spatial furniture comes amid these efforts. Namely, furniture does not exist as a separate entity in a space but interacts with the construction; thus, furniture is immersed into construction or construction becomes furniture, which demonstrates that furniture is on the continuum of the composition of the space. This study looks into the characteristics of spatial furniture in contemporary indoor space through relevant cases, and prepares the ground for a creative interpretation of Indoor space.

• 동남아시아연구
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• 제27권3호
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• pp.49-91
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• 2017

본 논문은 인도네시아 발리 우붓 지역에 위치한 한 농촌마을에 대한 민족지이다. 뉴꾸닝 마을을 중심으로 관광발전에 따른 사회 문화적 전개 과정과 거주관광객의 문화적 실천방식을 고찰한다. 문화관광 발달에 있어 반자르의 역할 특히 전통 담론에 대한 재인식 과정은 마을 번영의 주요한 계기가 된다. 거주관광객을 중심으로 마을에 대한 요구, 이에 대응하는 현지주민의 역할에 대해 논의한다. 거주관광객과 주민집단은 한 공간에서 문화접변의 과정을 경험하고, 이는 각각의 집단이 전통에 대해 새롭게 인식하는 계기가 된다. 결국 거주관광객의 마을 거주는 기존의 객관적 구성주의적 고유성에 대한 개념에서 비롯된 대상물 중심의 관광실천에 대해 재고찰하는 계기가 된다. 거주관광객의 고유성에 대한 인식은 관광경험 과정에서 획득한 일상적인 만족과 안전에서 비롯된 존재론적 인식의 일부이다. 뉴꾸닝 마을이 관광지로 발전하는 과정은 거주관광객이 마을 전통을 실천하면서 획득하는 일종의 실존적 고유성의 관점에서 이해된다.

• 한국콘텐츠학회논문지
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• 제21권12호
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• pp.713-727
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• 2021

본고는 1950-2010년대 한국영화를 대상으로 광화문과 주변지역이 영화적 공간에서 어떤 의미작용을 하는지를 고찰하고자 한다. 첫째, 1950-1960년대 한국영화에서 명동(남촌)과 북촌·서촌·동촌은 강렬한 욕망과 치명적 좌절, 근대화의 그림자와 갈등을 통해서, 화려한 도시의 지하세계와 비극적 파토스를 보여주는 원초적·지각·실존 공간이다. 둘째, 1970-1990년대 한국영화에서 명동·종로(남촌·북촌)와 서촌·동촌은 자유/악의 이분법과 부/빈곤의 이분법을 통해서 공적 복수와 사적 소외를 보여주는 지각·실존 공간이다. 셋째, 2000-2010년대 한국영화에서 광화문(서촌)과 북촌·남촌·동촌은 국민의제와 저항운동, 욕망과 상실, 비참한 현실과 죽음을 통해 시민사회 에토스와 암울한 진혼곡을 보여주는 지각·실존 공간이다.

• 한국실내디자인학회논문집
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• 제23권4호
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• pp.94-102
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• 2014

Nowadays when the social and cultural paradigm is changing, the incomplete space is becoming a matter of controversy. In order to figure out the solutions to it, are being held a variety of spatial discourses for spatial essence and meaning to be cleared. Accordingly, this study has tried to seek for any probability to interpret the ontology shown at any traditional space on the ground of Heidegger's Ontological Thinking Structure which has a considerable impact on Modern Space, whose conclusions are the followings. First, Heidegger's ontological space theory, which provided a foundation of Placeness concept, includes not only the character of interdisciplinary learning among philosophy, arts and any related studies but also that of mutual oriental and occidental cultures. Second, between the thoughts of Heidegger and Lao-tzu are considerable similarities from the methodical viewpoint that materializes the meaning of existence as an essence. Third, for a convenient interpretation, the ontological spatial concept of Lao-tzu's philosophy shown at traditional spaces have been categorized into Typology-Incident, Morphology-situation and Topology-meaning generation with Schultz's Existential Spatial Concept based on Heidegger's Ontology as a medium. In particular, the meaning generation which materializes the placeness has the trait of being clarified as the product of interactions between incidents and situations.

• 한국게임학회 논문지
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• 제21권3호
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• pp.25-38
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• 2021

본 논문은 현대인의 생활에서 많은 비중을 차지하게 된 디지털 게임 공간에 대해 시뮬라크르 이론에 따라 인간 실존적 의미의 장소(place)로의 발전 가능성과 장소성(placeness) 형성 과정에 대해 알아본다. 우선 인간과 관계 맺음 하는 디지털 게임 공간을 플라톤, 장 보드리야르, 질 들뢰즈의 시뮬라크르 이론을 바탕으로, 혼재될 수 있는 세 가지의 시뮬라크르 공간 양상으로 해석했다. 게임 공간에서 장소성이 형성되는 과정을 앞서 재해석한 시뮬라크르 공간과 장소 이론, 그리고 사용자의 게임 경험을 연결 지어 제시하였다. 이를 통해 다양한 매체의 진정성 있는 경험을 위한 디지털 게임 공간의 장소 양상을 탐구하는 데 이바지하길 기대한다.

• 건축역사연구
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• 제16권2호
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• pp.43-58
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• 2007

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that "less is more" in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.117-124
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• 2015

With the modern society approaching, a lot of new paradigms have been created which can be explained by the existing space notions while suspicions on the true essence and existence of space have been raised. Ontology regards as the beginning the cause for a 'Field' which will be faced for the research of the essence of a space where 'being-in-the-world' exists. This study has analyzed the existing method of space construction in the spatial thinking and works of Peter Zumthor who mentioning ontological viewpoint as the physiological background of his works so that the ontological spatial concept may be clarified. The following is the study results. First, in order to construct the structures of his own designing into a 'Field' for experiencing the existential meaning, Zumthor chose a reductive pattern with the entire additional elements removed. The materials leading the subjects to call attention to memory and experience and the methods dealing with it enables the realization of various spatial essences. Second, the ontological event-system is required for the formation of relationship among beings. He tried to create a spatial meaning by introducing external environment into the inside and using the materials reflecting regional features and phenomenological empiricism through the multisensory experience. Third, he applied assimilation/insert/adjustment/formative change as the way of constructing the relationship between site and structure.