• Archives of design research
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• v.19 no.2 s.64
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• pp.217-228
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• 2006

It is obvious that the characteristics of the media are related with the visual expression found in film and video shots. It can be assumed that there would be unavoidable distortion when the space and objects are being framed into an image by the camera and that unavoidable distortion can be utilized for creative expression. Therefore the relationship among the shape of filming zone, the structure of the image, and the strategies of disposition of camera, actors, and objects were studied in accordance with expressional attempts found in film and video images. The classified cases of the expressions found in film and video was studied from the view of the dispositions and movements of the physical elements such as camera, actors, and objects which made the designated expression possible. Finally the organization of method to arrange of the elements used for film within film zone was resulted as the expressional directing methods for filming. Later the usefulness of the method was tested by the application of the method in educational procedure and the evaluation of the analysis of the students' results.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.310-322
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• 2019

Since the late 2000s, fashion exhibitions have expanded to encompass a variety of concepts and sizes, and the need for research on exhibition planning, installation, and direction, including curating, is emerging. In this context, basic research is deemed necessary to encourage more experimental and in-depth research into the planning and orientation of domestic fashion exhibitions. Accordingly, by analyzing the exhibitions of Judith Clark, a pioneering fashion curator, and fashion exhibition planner, the aim of this study is to examine the characteristics and directing points of her curation. This study proceeds as follows: first, the concept and type of fashion exhibition and curation are investigated. Second, the exhibition cases curated or produced and installed by Judith Clark are examined and analyzed. Finally, based on this analysis, the characteristics and directing points of her curation are identified. In exhibitions, Clark's directing style features use of a variety of objects, the diversification of the flow-path through space division, and collaborations with various fields or experts. Clark's curation points, based on such characteristics, are as follows: reproduction-oriented curation to capture the age of the time based on historical research; storytelling-based curation; and transboundary curation with multiple methods and open processes. This study is expected to serve as a foundation and precedent that will lead to further research on fashion exhibitions and implementation.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.93-101
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• 2009

This study is including the independent project, "building children's library of the town" that is conducted by a local resident. The study object is the contents of the "design workshop for library planning" and the general process during one year since the opening. This study is delivering "information of children's library" through the work-shop and is conducting the role of a professional space planner by measuring the blueprint. Thus, the study could be conducted with synthetic viewpoint on each library. The followings are the results from the study. First, there were various space operations and a variety of programs in the case library that is independently managed. This is directing to "the constructive and active space usage" by the users and finally results in positive circulation. Secondly, there is a change through the process of execution and operation in the library construction plan. There are needs for the flexible space expansion and adjustment, modifiable furniture layout and design and various keeping areas because there is on-going tendency of corresponding space change. The third, the author could draw more practicable consideration points for space planning by looking at the trend of space change in Transactionist viewpoint. Thus, this study is very meaningful in terms of planning of sustainable public areas.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.48-55
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• 2006

As environmentally friendly life styles become more popular these days, the landscape elements like plants, water, stone etc. which used be considered as just simple interior props, now become the main design concept that decides the whole image of space. The purpose of this thesis is to study the various understandings and approaches on the applications of the landscape elements which are known as the most friendly and positive ways to approach the senses of users, among any other methods and techniques for environmentally friendly elements. The application types of landscape elements in interior space design are as follows; (1) incorporate the surrounding landscape elements. Keeping existing landscape elements, incorporate them into interior elements of beauty; (2) install a transition space with landscape elements; (3) green interior planes ;(4) use landscape as the main design concept; (5) use landscape as decoration elements. Many of landscape spaces incorporated into the interior are often built in a hurry and in low qualities without much consideration of the users and the space. This study intends to set a standard for the application of landscape elements in space design, after collecting various cases that applied the landscape elements in interior space, by categorizing the successful and effective applications into applicable patterns.

• 제어로봇시스템학회:학술대회논문집
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• 1996.10b
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• pp.1189-1192
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• 1996

Navigation is a science of directing a mobile robot as traversing the environment. The purpose of navigation is to reach a destination without getting lost or crashing into any obstacles. In this paper, we use a genetic algorithm for navigation. Genetic algorithm searches for path in the entire, continuous free space and unifies global path planning and local path planning. It is the efficient and effective method when compared with navigators using traditional approaches.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.125-130
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• 2006

The various kinds of consumption belong to a general category and at the same time the expression of most basic aspiration in the human life. Since the ancient times, the consuming activities have lasted with the other basic activities and the consuming space conducting consumption has developed as physical devices along with the human history. Those companies that have been given attention and getting favorable impression currently being selected by the consumers are now concentrated on the storytelling marketing. The storytelling marketing is that the emotion-oriented marketing activities give consumers the opportunities to enjoy the product contained stories to put the stories to marketing activities. It approaches to consumer with human story emotionally rather than rationally and heart rather than mind. Recently, the architecture has become artistic either it was linked and contacted media or part of marketing. We think that the story telling marketing is the eternal triangle among art, architecture and marketing that is a propensity or movement to interior at this time. I found out that the storytelling marketing methodology is able to touch the consumer's heart and stimulate consumption aspiration that makes new circumstances and experience expressing space. And for that, effective marketing methodology is to give the consumers a more exciting and enjoyable motivation in accord with the modern society to give companies positive image to customers and accordingly for the companies to gain profits. The story telling space that is filled with ideas which produce new circumstance and experience using the established narrative and theme will be required continuously and able to develop in the future.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.212-221
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• 2014

This study aims to analyze and explore phenomenological elements that appear in small-scall art museums with spatial concepts, such as top and bottom, depth, movement, and experienced space on the basis of Merleau-Ponty $Ph\acute{e}nom\acute{e}nologie$ de la perception.' Therefore, small-scale art museums may be regarded as an ideal space that can be analyzed with Merleau-Ponty's phenomenological theory since they should provide viewers with various spatial experiences in a limited space, breaking away from spatial limitations beyond appreciation of artworks. As research subjects, the range of art museums was limited to ones whose designs architectures or interior designers participated in out of all the small-scale art museums constructed after the 1990s, when the concepts and directing methods of spatial experience elements started being applied to art museums. Small-scale art museums chosen as cases were analyzed with Merleau-Ponty's spatial concepts explained earlier, and this study drew conclusions for each one. The significance of this study is that the results of this study can be used as efficient materials to reflect phenomenological elements on planning future small-scale art museums through further studies on various small-scale art museums.

• Journal of the Korea Furniture Society
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• v.22 no.4
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• pp.308-316
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• 2011

The purpose of this study, which has been conducted as a government and academic joint project, is to introduce the design, production and installation of the structures exhibited to let people know the meaning the environment-friendly eco-park - Haneul Park that is located in Mapo-gu, Seoul. The exhibition was held as a part of Green Garden Panorama of Seoul Design Fair 2010 and used the stands of Jamsil Sports Complex as the exhibition space. The key contents of the exhibition consist of four elements; firstly, green plants were placed on the first and second floor stands of the complex in order to create the space inside the main stadium as a space that symbolized green environment. Secondly, the usability of the containers of food was maximized to attract the spectator's interest and induce desire to have it. Thirdly, the efforts of the Mapo-gu office for green environment were emphasized using environment-friendly materials. The process and meaning of the transformation of Nanji Island that had been a waste dump site in the past into Haneul Park - an environment-friendly eco-park were expressed by a four-stage space structure. The majority of installations placed in each stage were sold to visitors during the event so as to minimize the generation of wastes after the event.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.