• Journal of the Korean association of regional geographers
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• v.16 no.1
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• pp.76-84
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• 2010

This study is to critically examine a variety of perspectives of seeing the interactions among space, people, and society. According to Tuan, place is a center of meaning constructed by people's experience, and its attributes consist of natural and built-up environments. Entrikin suggests a way of seeing place from a contrary perspective, that is, the subjective and existential sense of place and the objective and naturalistic conception of place. Lefebvre examines the historical transformation of social space through the dialectics among the perceived space, the conceived space, and the lived space. Social space is (re)produced and changed through the conflictual unit of the spatial triad. The project of Foucault's spatial metaphor is to tightly combine three critical concepts, power, knowledge, and space. Those concepts are not objectively existed regardless of specific times and spaces, but they are socially and culturally constructed through the networks of people under particular environments. In the following papers, it is needed to comparatively examine the various perspectives mentioned above to make a new conceptual framework of understanding the interactions among space, people, and society.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.21-28
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• 2010

This study is purposed to understand the spacial usage of the furniture in detail for interior architecture. Many documents have prescribed the spacial furniture at random. While modernist have been interested in the spacial usage of the furniture, the importance of the spacial furniture stands out in architectural space. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. The villa, the weekend home of the Savoye family, was built between 1928 and 1931. Particularly, the villa Savoye was focused for this study. Le Corbusier viewed desks and case pieces for storage as architecture, and the unite furniture and architecture by developing cabinets in standard modules that could be painted either the wall color to become part of the wall or in contrasting colors to stand out as furniture. Spacial furniture was used architecturally in the interior as well, it gives the space an unexpected playfulness with the color of the finishing materials. The various usage of the Spacial furniture constitute an element of great architectural richness. They have a unique principle based on emotional order and make the man move to another space and experience the spacial connection. In particular, the furniture that was considered by Corbuisier have rational function, division of the space, leaning the structure, and so on. The furniture as the element of the space composition can change the architectural space and view as well as connecting each other. Spacial furniture appear as physical ones called wall, floor, column, and existential value as a living space.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.143-153
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• 2013

The purpose of this study is to explore how to make use of the light and expression methods to embody phenomenal space by considering the representation techniques and characteristics of a variety of 'Phenomenal light' in his works focused on the Steven Holl's views that thought the light as object of creating space. The process is summarized as follows: (1) Study on the relationship between light and color, Classify concept and type of phenomenal light by phenomenal color (2) Consider the characteristics and expression methods of the phenomenal light in the Steven Holl's architecture (3) Finally, organize the concepts and representation techniques of phenomenal light, and then present method to embody phenomenal space by light. According to this, the results are as follows: (1) Perceptual color by the light of the sense forms a variety of perception and texture of light and shadow according to the contrast of shades and the change of materiality, thus embodying multisensory space with the light as the medium approach that helps to experience formal and tactile senses. (2) Spatial color by the light of volume distinguishes the flow and movement of sight, and embody inducing space with the light as Atypical activity that forms atmosphere of space through concentrated or overlapped mass of light and darkness. (3) Existential color by the light of the light source visualizes the existence of the uncertain light, and embody the receptive space with the light as emotional communication that forms symbolic and psychological meaning through metaphorical phenomena of colored light.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.171-175
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• 2004

This study aims at the examination of the characteristics of sectional design by Raumplan through the analysis of his 12 houses in which his architectural design concept is clearly showed. The analysis proceeded through 12 sectional drawings, because of Raumplan is originated from the spatial concept which is dividing spaces with various differences of horizontal level. Through this investigation, three characteristics of sectional design by Raumplan which is to present : 1) Free horizontal variation by different level 2) Spatial division by splitted wall 3) Horizontal & vertical refraction of viewpoint & movement These characteristic seems like to including his intention to put into the various human behaviour in residence, it can be spatial clue to solve existential experience of 'homelessness' which is one of the biggest problems of modern times.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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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.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.635-641
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• 2024

Based on Merleau-Ponty and Lakoff's research on the inseparability of body and mind, this thesis seeks to explore the impact of experiences in multi-layered spaces based on media art on the understanding of human existence. The sensory experience provided by media art strengthens the viewer's physical presence and induces a new perception of reality by blurring the boundaries between reality and virtuality. Through this, it shows that it is possible to newly recognize and explore the deep relationship between human existence and the world. This paper analyzes how media art can be an important means of expanding existential experience through the connection between body and mind, and explains how the combination of art and technology contributes to ontological understanding.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.68-77
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• 2012

Appreciating the aspect of modem architecture requires not only the comprehension of the nature of design and architects' ways of thinking and expression but also observers' views on buildings and their perceptive/cognitive stages. This calls for an in-depth study on the "system of phenomenological perceptions" that works as a new architectural experience system. The system of phenomenological perceptions makes it possible to specify the individual process of understanding architecture, that is, hands-on experiences, participations, feelings, perceptions, and cognition. The value of user experience and cognition has been emphasized by philosophical and aesthetical concepts as well. Therefore, in order to better appreciate the modern architecture, this study suggests theoretical consideration to "orientation and event" that are crucial elements in understanding a phenomenological view and materializing actual space formation. This offers the cognitive system with which we analyze modem architecture and comprehensive expressional methods. In other words, this study contemplates the system of phenomenological perceptions from an existential spatial perspective by structurizing the system of the orientation and the event in order to segmentalize users' current locations, potential directions, the relations with spaces, continual vie'wpoints as well as buildings' functions and interior and exterior division. The system of phenomenological perceptions helps understand and systemize modern architecture through a system based on relations between sensation, perception, cognition, sensitivity, and rationality. This creates a new cognitive system employing the concept of the orientation and the event, which is different from a normal cognitive system basing on the sense of vision. When observers appreciate space, they tend to relate the space to a certain event and to remember their experiences in it. During the process, they draw borders of the space in which the event takes place and give shape to their experiences including actions, movements, cognition and sensation. The process leads to the formation of "placeness," and here, the concept of the orientation comes in as the location and the center of the placeness. This study proves that a determined orientation coupled with individual experience and events settles the place ness; detailed elements in the cognitive system have close relations with one another; the orientation, actions, events, and places are the factors that materialize observers' architectural experience.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.379-384
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• 2022

The year 2021 is a monumental year for the history of Korean cinema that inferiority of the sci-fi genre, by the appearance of two sci-fi blockbuster films- produced by Netflix and produced by TVing-at the same time. Coincidentally, both of movies are sci-fi films which appear post-human such as robot and clone. As can be seen in 『Frankenstein』 story, the progenitor of science fictions, the mankind have imagined beings similar to humen or post-human who are another human being for a long time. deals with the unusual subject matter of a space scavenger and a space janitor, and the main character is a robot that very familiar with human. is the story of a man who lives for a limited life protects and accompanies a clone named Seobok who was created as a test subject. This film deals with the philosophical themes like death and eternal life through the existential concerns of two characters. use Korean Shinpa -Korean specific senimental code-sentiment on narrative, and has the character of a road movie set in Korea's geographical space.