• Korean Institute of Interior Design Journal
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• no.6
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• pp.6-14
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• 1995

The purpose of this study is to establish the direction for creating the beautiful and lively space of the reli-gious architecture as a consquence of trying to under-stand the forms of control of the light and the symbolic meaning of the production in the interior space of the re-ligious architecture. The scope of this study has been limited to the natural light and to the establishment of theoretical background by analyzing the essence and method of space formation by the light in a side view of development and psychology and establishing the concept related to the architectur-al space formation of the light as well as researching and analyzing the meaning and the method of production of the light. And at the same time the conclusion has been induced as a guide of verifying theoretical background by analyz-ing the practical use related to the control and the pro-duction of the light through the spot research and the referential materials in a way of case research into 5 do-mestic religious architectures as the subject of research.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.91-100
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• 2017

This study aims to comparatively analyze the characteristics of light expression shown in the exhibition spaces of architects Richard Meier and Kuma Kengo, who constructed the element of invisible light into visible forms within space, using diverse techniques and components. As for the methodology therefor, it was attempted to conduct theoretical consideration of light, to experience the spaces of light by producing diverse spaces with architectural space components, that is, space, form, material, structure, and color, and to find out what space characteristics are perceived by perceivers from the interaction of the components. As for the research scope, this study intended to identify the concepts and characteristics of light and compare light in spaces, focusing on works of Richard Meier who constructed functional and mechanical spaces based on Le Corbusier's architectural language in the West and works of Kuma Kengo who claimed regionalism architecture in the East. In particular, this study intended to comparatively analyze the methods of using materials according to the filtering of light that appears different between the two architects in case that light enters into their exhibition spaces, and the effects of light production that arise from the differences, thereby pointing out the characteristics of diverse light expressions within the spaces of modern architecture. On this, this study investigated methodological differences of the two architects, who are based on East and West thoughts, in expressing light in spaces in various forms through brightness and darkness, light transmission and shadows appearing according to the nature of light, and color and materials. It is hoped that this study will provide an opportunity for promoting better understanding about other architectural cultures as well as understanding the characteristics of light in exhibition spaces.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.42-49
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• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.130-138
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• 1997

This study is to present the visual phenomenon of natural light in the interior space. The continuously changing natural light define the visual phenomenon of the architectural space. First, the objective of this study was finding the importance of the visual phenomena which were generated from correlating natural right with the interior space. And the second was to categorize the factors of the visual phenomenon which can be useful factors for modern interior design practice. As a result of this study, two visual phenomena were classified. First; territorial phenomenon: dividing, partitioning, and sectioning by natural light, Second; phenomena by the inflow methods of natural light; a) by direct inflow; transparency, expansion, and floating, b) by filtering fixtures; the architectural structure, color, and the transluscent material, c) by dramatic spacial present of natural light, d) by the sense of direction of naturel light; continuity, and transformatiov. Found and classified each factor is not presented by itself, rather compounded forms. Because of the limited analysis of modern buildings, these found visual factors can not represent all phenomena. But if we practice these finding factors to design present interior space, it is sure of being very valuable factors to re-introduce the overlooked natural light into interior space.

• The Bulletin of The Korean Astronomical Society
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• v.45 no.1
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• pp.69.2-69.2
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• 2020

Korea Astronomy and Space Science Institute (KASI) is developing a coronagraph to measure the coronal electron density, temperature, and speed utilizing spectral change of the K-corona around 400 nm. However, near UV light is more affected by atmospheric effect on the ground than visible light. For the total solar eclipse on July 2 2019, KASI organized an expedition team to test the possibility of the similar measurement scheme in the visible light. The observation site was in Las Flores, San Juan, Argentina. We built an imaging spectrograph using micro lenslet array and grism, named Coronal Integral Field Spectrograph (CorIFS). In addition, images of white light corona, wide field background, and all sky were taken with various camera settings. We present the preliminary results of the expedition.

• Archives of design research
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• v.15 no.4
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• pp.77-86
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• 2002

3D computer applications provide various functions such as modeling, rendering, animation, lighting and so on. Lighting is the core element in that light visualizes shape and develops characteristics of surface. In spatial design, light is the most important factor in deciding color, texture and illumination level which are the basic factors of spatial design. The purpose of this study is to define the characteristics of lighting in digital space provided by the computer, based on the fact that physical space cannot be separated from digital space, and to show how light in the physical realm relates to computer graphics technologies. This study shows there are following characteristics of light in digital space; iconic light, modifiable surface, shadowless light, 2-dimensional perception, and the particulate aspect of light but not the wave aspect of light. Light in physical or digital space is capable of producing a visual sensation. The experimental space can be realized due to the lack of physics. Further study in new illumination procedures are required as computer media expands.

• Journal of the Korean Solar Energy Society
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• v.32 no.1
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• pp.48-55
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• 2012

In recent years, it clearly shows the tendency toward the utilization of daylight in many exhibitory buildings such as museum since the expectation of visitors for whom high illuminance levels are preferable to perceive the details of the works of art. Shading devices and special glazings are often used as the tool to control the amount of light and heat which should be avoided for the presentation of high-light sensitive art works such as paintings. Another way of controling the light is to provide the space for inducing and attenuating light in the exhibitory building. This study aims to investigate the illuminance on the exhibitory space when the space for inducing and attenuating light is applied. Interaction between the daylight and the space was simulated by Lumen Micro program with variation of the size of the exhibitory space, the length of inner wall, surface reflectivity, area of windows to obtain the illumination of the wall surface. This study shows that those variables affect the illumination on the wall surfaces. By comparing the results with suggestive illumination of KS and ICOM, available wall for display on natural lighting are suggested for the seasons and time.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.51-59
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• 2016

Recent modern architecture shows a lot of cases that introduce natural light in indoor space, arousing diverse emotions within a minimal space by means of changes in the light. There are various causes for the background of these streams of times, and it may be said that pursuing the relationship between natural phenomena and space, using changes in light, is an important factor among them. This is closely linked to the raise of phenomenological architecture. In the case of Japan, there are many cases where the architectural language connected to the traditional architecture has been restructured to fit to modern architectural technique. The modern reinterpretation and development of the Japanese traditional effect of light and its meaning can be seen in cases of Kuma Kengo and Tadao Anndo. Of the modern architects that have used the appearance of spatial concept of light in Japanese architectural space, Kengo Kuma shows his attempt at finding identity in his designs through the acceptance and modern reinterpretation of orientalism of nature, along with the traditional and regional interpretation through materials and ways construction. It is his use oh light input used in traditional Japanese settings that have differentiated his work. On this, the present thesis intends to analyze and synthesize what impressions Kengo Kuma's unique methods of light production create in the formation of users' spatial perception, how the unique encounter of light and materials seems to perceivers, and the characteristics of his light production and expression that harmonize space, human, and nature in the visual and perceptual experience of space;

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.193-201
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• 2005

In this study we analyzed and interpreted the phenomenologlcal characteristics and meanings of water space in religious architecture through field studies and phenomenologlcal approaches, focusing on the religious architecture Introducing water space in contemporary architecture. The phenomenological experience elements of the research ate light, time, place and context. As the results of this study, first, light as a phenomenological element not only induces a contrast and change between light and the shadow in architectural space and various changes of light in inner space, but also operates as an element which expresses building features outward with time. Second, time as a phenomenological perception experience makes us feel changes of the environment and physical properties and experience space visually and physically. The continuity of time shows the change of a day, night and daytime and seasons. Third, water space makes the sense of place more remarkable, connected closely with surrounding nature In outer space, and creates a new space. Fourth, water space is a contextual element which harmonizes with surrounding environment by connecting surrounding natural environment with architectural space. Fifth, water space in religious architecture is a symbolic and central element, and emphasizes the atmosphere of architectural space. In addition, it makes the people who experience water space perceive the place by triggering sensitive response.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.183-194
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• 2013

Exhibition space emphasizes the experience in the space rather than viewing or appreciation of visitors. Because the experience spaces in today's life are limited, people experience rest, comfort, and sometimes extraordinary space experience through exhibition space. Exhibition space has changed from a static place to a space where visitors move and act with the exhibits to freely feel the space. Also, the static space expressed only with illumination and shadow becomes a new space different from daily space for users. This study analyzes the characteristics of phenomenological expression through such user-oriented exhibition space. This study is to analyze the characteristics of phenomenology through the exhibition experience space structure. It is to analyze and study on the characteristics of phenomenological expression of the exhibition experience space structure centered in the opinion of Merlo-Ponti that considers the experience of body among 'characteristics' discussed based on the study of the phenomenological experience published up to date and the viewpoint of Steven Hall that sees light as a subject of creating the space. This study is also considers how the perception of the experiencer is built in the correlation between the phenomenology and exhibition experience space by studying the relationship of the experiencer that is the common point of the exhibition experience space structure and the characteristics of phenomenological expression and analyzing the common point and difference of them. It also focuses on the space of dark whether forming any light rather than looking at the light which is the sense factor among the characteristics of phenomenological expressions. Thus, the purpose of this study is to analyze the case on whether there is any light or not applied to the exhibition experience space grounded by the theoretical materials of Merlo-Ponti and Steven Hall based on the characteristics of phenomenological expressions in the exhibition experience space structure and, based on the result, to set up the basics on the characteristics of phenomenological expressions in the composition of exhibition experience space.