• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.204-205
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• 2004

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.84-94
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• 2005

The purpose of this study is to establish the identity of the traditional residential space in Korea and Japan as analyzing the spatial characteristics and sociocultural roles of the 'in-between space' shown in their traditional dwelling space. Although they share culture area, it is meaningful to clarify the identity of both countries with many differences as the point of localization In globalization and the point of presenting the current and future directions of residential culture in both countries. Records and field studies have been carried out for the spatial characteristics and the sociocultural role focused on Ma-dang and Dae-chung in case of the 'in-between space' in Korean traditional dwellings and Inner housing, Doma, and Engawa in Japan. According to these findings, the spatial characteristics in common between Korea and Japan are open, half-open, separation, mitigation, integration, variation, continuation, hierarchy, mediation, and expansion. The 'in-between space', built by the separate Chae and Kan, of Korean traditional dwellings shows the separation by closed walls and the exclusive use by the fixed walls. In case of Japan, the integrated in-between space built by the separation of Kan shows open and connective tendencies and the variableness of walls has the tendency making ambiguous space with spatial softness. The sociocultural role of the 'in-between space' in Korean traditional dwelling space functions as the mitigation between the interior and exterior of the house as well as the male and female. Because the conception for protecting the private life is too weak, the sociocultural role of the 'in-between space' in Japanese traditional dwelling space seldom forms the space for an individual or the specific person among family. The space to welcome a guest functions as the mitigation between residents and outsiders as it is located in the inside of the private dwelling space.

• Korean Institute of Interior Design Journal
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• no.27
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• pp.120-127
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• 2001

The purpose of this study is to examine the characteristics of space design of Isamu Noguchi's works barred on the stage sets and environmental designs. From the end of 19th century, space which was begun to be studied about in architects has continued to be researched by not only scientists but artists. Recently, space Is expressed in free and new forms due to diversity of societies and advancement of technology, As a result, space has become an essential part in art and is used in the titles of many art exhibitions. This study scrutinizes space in Isamu Noguchi's works. No other 20th century artist has as clear and progressive space conception as Noguchi's. His notion of modern art was modified through space in the tradition of cubism and Russian Constructivism and Bauhaus. Combined with his experience in the traditional Japanese houses and gardens, these influences led toward a broadened conception of sculpture as the creation of living space. These modernist's characteristics are found in his early expression of stage sets for choreographer Martha Graham, and they would lead to a wide range of design activities, from gardens and interiors to fountains and furniture. Isamu Noguchi had created a body of work that crossed the boundary between fine and applied art as a sculptor, and as an environmental designer.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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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.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.58-67
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• 2013

Since environmental pollution emerges as an important issue, integration of academic discipline has been accomplished for development of environmental ethics. Combination of Buddhism and Ecology is the instance of this background. The background of this research is the assumption that from Seon Ecology standpoint, Buddhist temple would define conception of Seon Ecology specifically. The study based on advanced study about Seon Ecology, the peculiarity of Seon Ecology was dependent originations, order, the nature of Buddha, moderation, and impersonated nature. In addition, this study researched how these peculiarity has relation with traditional temples. This attempt has a significance in that finding a new approach of interpreting traditional temple and possibility of Seon Ecology Seon Ecology space formative concepts of traditional temple is cyclical allness, transitory balance, Denial of perfection and natural void characteristics from Seon Ecological studies. This study examined how characteristic of Seon Ecology is reflected in traditional temple, through analyzing Buseoksa-Anyangru, Bongjeongsa-Yeonsanam, Seonamsa simgeomdang, Songgwangsa woohwagak, Hwaamsa woohwaru which have remarkable characteristic of selection using above space formative concepts. traditional temple was filled with life coexisted with dynamics, independence, and equality within interrelationship between nature and architecture.

• Proceedings of the Korea Information Processing Society Conference
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• 2011.04a
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• pp.990-992
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• 2011

In this paper, we introduce a new Tabu method to get K-anonymity character in database information privacy protection. We use the conception of lattice to form the solution space for K-anonymity Character and search the solution area in this solution space to achieve the best or best approach modification solution for the information in the database. We then compared the Tabu method with other traditional heuristic method and our method show a better solution in most of the cases.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.272-279
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• 2000

It can be characterized that contemporary architects intend to establish architectonics which can make it possible to reinterpret the attribute of movement in space and its programming differed from the traditional perception in moving in and out any space through disjoining and reorganizing human behavior and event. This intends reflect new paradigm for subjugating the compelled fuctioning of modern Architecture. This Study review those intends focused on programming as a pre-disign schema. In those intends, it connotes the effort of establishing more systemic and logical approach through deconstruction and disprogramming the existing from, space, elements and human on the basis of his own schematic conception as substitution of function in modern architecture.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.172-182
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• 1992

The binary classification, Yin & Yang, can be shown in our culture. Yin & Yang thinking reveals the Up/Down (Principal/Subordinate) relation in space, and Before/After relation in time, and it shows the sequence of Contrast${\to}$Reconciliation & Unification${\to}$Contrast. For example, a follower is Yin against King, while Yang as a father against his son in our trational cognitive structure. With Left/Right, Front/Rear, and Upper/Lower, In/Out division is a basic body-space term to grasp the space position. In the traditional Korean house, when we go out from the deepest 'In', Anbang to Daechung, we may call Anbang 'In' and Daechung 'Out'. When from Daechung to Anmadang reversely, we call Daechung 'In' and Anmadang 'Out'. Namely, Daechung is both 'In' and 'Out'. This is a fallacy logic in view of western basic conception. 'The In/Out Structure, system of a series of inner spaces, is defined as a transformation of cognitive structure of Yin & Yang thinking to the Korean architectural space. The space structure is one of the important deep structure in Korean society.' The concept of the space structure, apperred in east Asia, can make humane space, for it is not a physical 'type' of typepology but related to cognitive structure of human thinking, The structure is applicable to space design in modern society, for the cognitive structure exists in living culture by transformation.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.68-75
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• 2003

The purpose of this study is to find out the expression style of space in Rietveld's early works in comparison with Mondrian's paintings. Through investigating the development of their works and analyzing the composition and disposition type of elements such as point, line, plane, color in the selected works, we can draw the following conclusions. .First, Rietveld pursues the dissolution of traditional volume and the de-composition of elements as Mondrian does. Second, the painterly property of plane is emphasized by the projection of separately floating elements on the picture plane. Third, the separating the layer of lines from the layer of planes and the re-combination of these two layers present the superimpositional image of three-dimensional objects. This leads into new conception of architectural space and develops the transparency and the extension of plan in modem architecture.