• Archives of design research
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• v.18 no.4 s.62
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• pp.257-266
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• 2005

The purpose of this study is to investigate the psychological reaction to the image of the worship space in the church buildings and to quantify its contribution of the stimulation elements causing such reaction, and finally to suggest basic data for realizing emotional worship space of the church architecture. For this, 143 christians were surveyed to analyze the relationship between 23 emotional expressions extracted from the worship space and 32 images of the worship space. The combined data was described with the two dimensional dispersion using the quantification theory III. The analysis found out that 'simplicity-complexity' of the image consisted of the horizontal axis (the x-axis) and 'creativity' of the image the vertical axis(the y-axis). In addition, to extract the causal relationship between the value of emotional reaction and its stimulation elements quantitatively, the author indicated 4 emotional word groups such as simple, sublime for x-axis and typical creative for y-axis based on its similarity by the cluster analysis, The quantification theory I was also used with total value of equivalent emotional words as the standard variance and the emotional stimulation elements of the worship space as the independent variance. 9 specific examples of the emotional stimulation elements were selected including colors and shapes of the wall and the ceiling, shapes and finish of the floor materials, window shapes, and the use of the symbolic elements. Furthermore, 31 subcategories were also chosen to analyse their contribution on the emotional reaction. As a result, the color and finish of the wall found to be the most effective element on the subjects' emotional reaction, while the symbolic elements and the color of the wall found to be the least effective. It is estimated that the present study would be helpful to increase the emotional satisfaction of the users and to approach a spatial design through satisfying the types and purposes of the space.

• Journal of architectural history
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• v.24 no.1
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• pp.61-70
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• 2015

This is a study on the construction of the Heungcheon-Temple. The results are follows. 1) The Heungcheon-Temple was anticipated to be the Jeongneung. However, when completed, the Heungcheon-Temple was symbolized Buddhism; moreover, there was a stupa enshrined sarira. The stupa was a land mark in Hanyang. While king Sejong repaired the stupa, it disappeared during the regin of King Jungjong. Before it disappeared the stupa signified a Buddhist event and a rite of good fortune. 2) The stupa was constructed using a double-frame, and there was a stone-stupa in an octagonal multi-layer temple. This single location consisted of a sarira space and a worship space. 3) Buddhist Relic(Sarira) worship was to witness holiness and therefore reics could be moved according to need. It appeared as though Buddhist Relic worship occurred in Southeast Asia. 4) The Heungcheon-Temple stupa was considered a new and superior architectural-symbol to comfort people and recognize the new order of Ming and neo-Confucianism. Therefore, the stupa was a good alternative to politics, religion, and external relations during the early Joseon era.

• Korean Institute of Interior Design Journal
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• no.19
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• pp.151-159
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• 1999

종교 공간으로서의 교회 건축물은 각 지역 단체생활의 정신적, 물질적으로 다양한 활동을 공급하고 있는 장소이다. 그러나 오늘날 변화무쌍한 현대 사회의 도심 교회들은 그 참여수가 점차 줄고 있는 젊은 세대들에게 충분한 만족을 주고 있지 못한 실정이다. 대부분의 영국 도심 교회가 변화가 어려운 예배당 공간 하나로, 각기 다른 기능을 요구하는 이용자들에게 다기능 공간을 공급하고 있으며, 과거에 잠재적 기능을 고려하지 않고 디자인된 대부분의 한국 도심교회들도 비슷한 조건의 문제 발생으로, 현 이용자들에게 또 다른 요구사항들과 불편함을 주고 있다. 이것은 이용자가 공간을 사용함으로 즐거움과 감흥을 얻기가 어렵게 구성되어 있음을 보여주고 있다. 오늘날, 젊은이들의 생활 패턴이 바뀌어 가고 있음으로 그 실태는 더욱 심각하게 나타나고 있다. 본 연구는 먼저 도심교회 공간의 전형적인 문제점과, 연령별 이용자 그룹의 우선권을 조사하고, 각기 다른 조건의 종교적 공간 사례 조사를 통해 이용자들 및 공간 디자인의 요구사항을 분석하고 있다. 이어서, 각 공간에 따른 문제 해결 방법을 성공적 공간디자인 사례자료를 토대로 정리한 후, 어떠한 종교적 공간에서도 적용 가능하도록 통합적으로 설정된 디자인목표를 바탕으로, 세가지 다른 방법의 계획서들을 제시하고 있다. 마지막으로, 이용자들의 응답을 통해 계획서를 평가하여, 그것에 근거한 결론적인 종합적 디자인 계획서를 제안하고 있다. 본 연구는 교회가 필요로 하는 기능에 따라 변화가 가능한 예배공간을 활용할 수 있는 디자인을 제시하는 데에 그 목적을 두고 있으며, 기존의 교회건물이 더욱 더 많이 사용자의 요구에 만족할 수 있도록 만들어질 수 있는가에 대한 방향이 제시되고 있다.

• KIEAE Journal
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• v.17 no.2
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• pp.21-28
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• 2017

Purpose: The early churches such as tabernacle, temple and synagogue had played a important role to form space concepts of western churches. Tabernacle and temple were designed with vertical axis which consisted of sanctuary, sanctum, outdoor yard. Synagogue was designed pew of congregation around pulpit to give a sermon. The aim of this paper is to analyze spatial principles of churches designed with vertical axis and centralized plan. Method: The concept of vertical axis plan succeeded to Basilica, Romanesque and Gothic churches, and the concept of centralized plan succeeded to Byzantine and Renaissance churches. Therefore, this paper analyzed spatial characteristics and role of light in churches according to epoch, and was progressed by examining the existing researches and case studies. Result: The churches designed with vertical axis plan realized spatial composition to show the concept of domus dei, and worship space was illuminated with mysterious light. The churches designed with centralized plan realized spatial composition to show the concept of domus ecclesiae, and light created dramatic holiness in worship space.

• Journal of architectural history
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• v.12 no.2 s.34
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• pp.7-20
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• 2003

The main buildings of the important Buddhist temples - the pagoda, the Buddhist sanctum, the lecture hall - was surrounded by the cloister until Koryo Dynasty. And the Buddhist sanctum was located the center. It meant that the Buddhist sanctum was important building. It is very important thing that we understand the usage of the interior space because the architectural space consists of the unified space by the organic function of the interior space and the exterior space. But there is not so much the study on the interior space of the Buddhist sanctum. So, the purpose of this study is to understand of the interior space of the Buddhist sanctum in Ancient and Medieval Times. Till now, it was impossible that the Buddhist monk or the General public entered the Buddhist sanctum in Ancient and Medieval Times because they regarded the Buddhist sanctum as the place of sacrosanctity and the floor was finished by bricks. But, we saw that they could enter the Buddhist sanctum. Of course the floor of the Buddhist sanctum was finished by bricks, but they spread mats on the floor, took off his shoes in the interior space and used the furniture for sitting on. The plan of the Buddhist sanctum was designed by the process of the ceremony and the way of the enshrinement of the Buddhist statues because it is the place to enshrine the Buddhist statues. They performed the ceremony like as pray, worship, offer food to Buddha, HaengDo - an act to turn round an object of worship - and so on in the interior space of the Buddhist sanctum.

• Journal of architectural history
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• v.21 no.4
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• pp.7-24
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• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.103-120
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• 2021

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism's spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin's research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade's research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman's head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism's spiritual view. For example, the costume's form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism's nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman's costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman's ability.

• Journal of the Korean housing association
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• v.3 no.2
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• pp.1-11
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• 1992

Dwelling house is not only simple shelter but the space involves symbolic feature of myth, religion and ritual. Through this study, compared the Shamanistic ritual space with that of Confucianism in the traditional dwelling houses in korea. The results are as follows: 1) Generally, the symbolism of 'Enthusiasm of Universe' and 'Central Idea' are similar, but 'the object of worship', 'the content of ritual' and 'background' are different. The Shamanistic ritual space is 'Sacred space'. and that of Confucialism is 'respect Space'. 2) As the character of space, Shamanistic ritual space is 'articulated space' and have tendency to seperate from the world. On the other hand, Confucion ritual space is integrated space and have tendency to extend by the feature and scale of the ritual. 3) Examing the supervisor of ritual, woman(housewife) is the center of shamanistic ritual space and man(house holder) is the center of Confucion ritual space.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.135-140
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• 2006

From the ancient to contemporary architecture, the light has been an important theme determining the characteristics of interior space. Especially in the religious space, the light was manipulated to express the worship for a god more than a physical element of the nature. It implied that human's space perception through the light was considered prior to the space itself. The perceptual experience in space was primarily elicited by the light with other factors, such as water, texture, and sound which temporarily renewed and updated the information of space. In this study, we critically analyzed the effects of the light which enhanced human's perceptual experience in the religious space in the view of Merleau Ponty's phenomenological philosophy. We suggested that the light was one of the mos4 effective factors to express the characteristics of the religious space with respect to the Phenomenological Light which contributed to the continuity of time, expansion and direction of space, immaterialzation, and perceptual illusion.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.685-696
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• 2017

In the spatial image composition of a cathedral, light is the most important element of changing the mind through vision. The religious meaning of light and its impact on human sensibility are believed to be very large. Therefore, in this study, 'Illuminance' is the most important research subject of a cathedral's worship space lighting plan elements. Illuminance is expressed by giving the clarity and form of space through a subtle spatial composition difference. The role of illuminance is essential for confirming the existence of space, and lighting controls the spatial atmosphere at an appropriate level. The standard and range of illuminance are set through the synthesis and analysis of related standards. Based on this, a related case study was conducted on cathedrals built in the Gangnam area of Seoul in the 1980s. The lighting-related factors were analyzed and the illuminance of the liturgical space and worship area were measured. The appropriate level of applicability was confirmed by comparison analysis. A plan for the illuminance application levels and elements applied in the cathedral lighting design is proposed.