• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 춘계학술발표대회 논문집
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• pp.176-179
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• 2004

Space is comprised by the movements of human beings, and draws a complex locus within it. That form seems to be complex of movement around in all directions of space axis, and be ever-changing process as time goes by. Although Human are able to move uninhibitedly, the movements are restricted to a narrow sphere during locomotion. However, the pattern of these movements delineates a certain frame within the space, and provides not only visual effects but also relevance tomovement itself. Also, critically dividing and organizing this sphere is what is realized into this tangible indoor space. This study recognized importance of human being as a core of making indoor space and brought out experimental approach on relationship human with space, and visually perceptual standpoint. And this presented the recent possibility of action and attitude though sight and walking by arranging space on the basis of modern artists' perception of human body.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.45-55
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• 2004

This study theoretically investigated the conceptional and technical aspect of participatory design as an approaching scheme for participatory design in community This study operated a case study in an senior hall which is expected to be the important institution for future aging society This study discussed the tool's potentialities after investigating technique's developments and usefulness. The main result of study is as follows 1) Conceptual approachment for participatory design in community starts with the attitude of designers establishing moral, philosophical and social sense of value as the mediator in city and region. And proceed the design in the method of mediating the opinion with the members of the community and the government. 2) The technical approachment should be more concentrated with the method of making the members interested and treat the rationalized process and proceedings more important. And develop this as a tool which Is easily understandable, more convenient when working, and has a adaptability in application. 3) The given technique in case study is produced with the data of demanded rooms, preferred image, priority, and room-layout game, and verified it's usefulness by analyzing and discussing of process and technique, and this technique can be useful after specific complement work as a result.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.103-113
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• 2005

As today's cultural environment entered the information society, one of the biggest trends of future is the interests of nationalism. The purpose of this study is to interpret interrelation between sign and space design and analyze Korean contemporary space how to universalize traditional conception and attitude in design. The process of this study is illustrated as follows: At first, this study contains basic concepts and theories of semiotics and discusses the possibilities of semiotic approaches in spatial designs. Since the most outspoken theorist in this field can be found in writings of C.S. Peirce, American philosopher, the theoretical basis for this research Is taken from the Peirce's Semiotics. Secondly, this research tries the conceptual approaches based on traditional thoughts of Koreans formed with the philosophic background occurred with the universe, religion and the nature. And then, it approaches for the typical characteristics of Korean traditional space to interpret the meaning and adopt the triadic structure of sign. The structure is classified in status, icon, index, and symbol to analyze the Korean contemporary space design. Finally, it examines the expression structure of the nature of Korea that is succeeded in contemporary space design as the semiotic analysis of the application examples ; and studies the examples that try to set and solve the concept of space in modern society as the real issues in our cultural situations.

• 디지털산업정보학회논문지
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• 제13권3호
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• pp.11-17
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• 2017

The aerial support air sculptures currently exhibited in indoor spaces are similar to simple ad balloons, using multiple rope strands. Users now want more advanced unfixed sculptures, and hope these will develop into buoyant sculptures that can maintain the attitudes that users want on their own. This study investigated an attitude control system for unfixed levitation sculptures that can levitate with no rope and continuously maintain a certain attitude at a height specified by the user. To facilitate levitation, the exterior part of the sculpture was made of lightweight fibers, and the interior part was filled with helium gas. The controller was composed of a microprocessor of the dsPIC30F line from microchip, gyro, acceleration, and earth magnetic field sensors, and a highly efficient brushless DC (BLDC) electric motor. The attitude and position control system requires scheduling considering the trajectories of the sculpture and the control system, because the roles of the overall components are more important than those of a single controller. Furthermore, the system was designed like a fusion system that is expanded and controlled as a total controller, because it is interconnected with various sensors. The attitude control system of buoyant sculptures was implemented in this study, such that it can actively cope with the position, direction, stopping, and time aspects. The system performance was then evaluated.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• 한국실내디자인학회논문집
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• 제25권5호
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• pp.82-92
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• 2016

This study aims to contribute to better understanding of the Baroque architect Francesco Borromini, and, as a consequence, of the Baroque period itself. Recognizing that historical studies have focused mainly on the architectural (i.e., formal) aspects of Borromini's work and largely neglected the technical (i.e., structural) issues, and that the relationship between the architectural and structural worlds in Borromini's activity has consequently never been studied in depth, this research set as its objective the study of this relationship, and has developed a comparative analysis of Borromini's attitude toward architectural problems and questions of tectonics. The investigation has been conducted on two meaningful case-studies in Rome: San Carlo alle Quattro Fontane and Sant'Ivo alla Sapienza. The analysis has highlighted a strong dichotomy between Borromini as an architectural designer and Borromini as a structural designer. While Borromini's design is experimental, innovative, and nonconformist, his structures are cautious, tested, and validated by trustworthy tradition. His unprejudiced use of constructive solutions from different historical periods, regions, and cultural areas allows the definition of his approach to tectonics as "constructive eclecticism." The analysis has also highlighted the independence between the architectural and structural aspects of his work, as the two do not interfere with or limit each other. The dichotomy between form and structure in Borromini's work may reflect the "theatrical" tendency of Baroque culture, where what is shown on the face is often different from what is hidden behind.

• 한국산학기술학회논문지
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• 제14권4호
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• pp.1589-1594
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• 2013

V.M.D는 모든 공간과 환경 및 시각적 자극요인을 다루며 건축물의 외관뿐만 아니라 인테리어, 그래픽 사인물, 윈도우 디스플레이, 레이아웃, 매장내의 집기, 조명, 판매원의 외모 접객 태도까지 포함된다. 좋은 품질과 디자인이 훌륭한 상품을 매장에 진열 했으나 고객이 매장에 방문하지 않는다면 상품 판매는 이뤄지지 않는다. V.M.D는 상품을 고객이 매장 안으로 이끌 수 있게 진열하기 위하여 다양한 연출을 하여 브랜드 이미지를 높이며 지속적으로 고객 유치를 위한 모적을 두었다. 과거 화려하고 고급스런 인테리어를 통하여 디스플레이만 강조하던 개념에서 탈피하여 상품을 논리적이고 체계화된 방식으로 진열하여 소비자에게 구매를 유도하며 정보를 제공하고 매장의 환경을 디자인함으로 고객의 머릿속에 브랜드 이미지를 심어주는 것이다. 본 연구는 매장 내에 설치된 V.M.D소비자 선호도를 분석하여 향후 지속적으로 전개될 통신업계 대리점 디스플레이의 바람직한 매장 V.M.D조건을 제시하고자 한다.

• 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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• 제27권1호
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• pp.97-108
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• 2018

This study is based on the way Kim Kwang Soo works, which reveals a strong expressive tone that is rare in Korean architecture. His work is not decorative and symbolic representation of the intention of positive amusement. Therefore, the following noteworthy points will arise. The various phenomena associated with architecture and society are researched and analyzed in a critical manner. So, it creates and expresses its own formal logic. In this study, the theory of the subversive appropriation theory was identified by using the expressive characteristics of engagement. The study was based on a conceptual framework for the overturning of the mimesis, which Benjamin and Adorno have described. From this, this study summarizes Kim Kwang Soo's nihilistic attitude, finding boundaries and crack points, and subversive expression as a new form of architectural formal logic as main characteristics of interpretation of works. The characteristics of subversive expression of Kim Kwang Soo architecture derived from this are as follows. It does not take an ideological approach to the dismantling of the internalization of traditional Korean architecture. Popular culture and social phenomena are used as materials for expression. These are structured sensibly with appropriated formal logic. Finally, the architectural position adhered to the limit of performativity was recognized as the dimension of new meaning generation.

• 한국실내디자인학회논문집
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• 제13호
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• pp.102-110
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• 1997

We have lost our true characteristics without being grown and development of our traditional beauty in state of drawing into a whirlpool as the environment of western cultrue. So, to be existed for self-sown capability of our traditional culture, we'll have to keep up with the unique and creative Korean traditional furniture design through the synchloization between 'Traditionalism in our already westernized life' and 'Korean identity in our already westernized life' and 'Korean identity in worldwide culture' based on independent position by correct view of worth, as for the escape from attitude of receive on western culture in recklessnese. Hereupon, first of all, after reviewof fornuclation backround and characteristics in traditional furniture to be established by an ancestor, based on this and extract the conceptual language, it was presented past published works as for the approaching method toward physical form aspect by use of pattern of modern access method. Secondly, it was the symbolic approaching from method based on traditional and cultural context. Gradually, the embodiment of traditional image, in today's features of our furniture loosing the particular cultural identify is very important aspect, and beside above mentioned two methods, it should be investigated as for the diversified approaching study. Thereafter, we'll have to establish the positionof our modern furniture in global wordwide, for seek the beauty being interrelated form past historical communications, under the circumstance of original and future-oriented value.