한국전통누정(樓亭)의 비실체성에 관한 연구

김지은,성윤정,김개천 한국기초조형학회 2011 기초조형학연구 Vol.12 No.4

Korea to form a variety of traditional concepts of space, nothing(無), empty(虚), naught(空), and immateriality is formed through the infinite space, the vitality of the tradition to give the idea that the background of this study was. These immateriality characteristics of the traditional ideas of Confucianism, based on previous studies such as root idea the propriety (禮), is the foundation of Buddhism Hwaeom, and idleness(無为) of Taoism Lao Tzu and Chuang Tzu's idea check through, a traditional pavilion space, the immateriality was investigated in the melt. These attempts have a tradition of interpreting the space to form a more comprehensive perspective, and propose a new framework for spatial perception and could be seen that the finding is significant. Traditional immateriality of space, concurrency, design elements, the totality characteristics, and space time characteristics, building structural characteristics were extracted. By taking advantage of the formative elements than seowon mandaeru, hwaamsa woohwaru, defined through the analysis of deepwater Yangdong unreal how identity is reflected in the traditional pavilion space was contemplated for that. For more traditional ideas and practices through the analysis of immateriality of the traditional space in the space given the ever-changing life and nature and the universe can hold open the possibility of space allows the possibility of these potential present in the infinite space The play of living space for us to offer more variety, space is given for recognition of novelty.

현대건축공간에 나타나는 비물성 표현방식에 관한 연구

유종호(Yoo, Jong-Ho),이정욱(Lee, Jung-Wook) 한국실내디자인학회 2014 한국실내디자인학회논문집 Vol.23 No.1

After The Industrial Revolution in 18th century, constructions were done with universal material (concrete) in everywhere instead of using materials that are produced in each country because of development of industry material and transportation. This change caused the buildings to become trite with no local characteristics. Hereupon, the study intends to understand the essence of matter and restore various construction methods of each matter with the topic of ‘Immateriality’. Immateriality is the revealed concept based on Materiality. Consequently the process and characteristics of immateriality shown on the works of Kuma Kengo and Herzog & de Meuron, three kinds of features can be found of immateriality expression mode. They are as in the following. First, there is a mode of transforming the shape and properties in physical or psychological way by observer. Second, there is a mode of conflating the shape and properties in physical or psychological way by observer. Third, there is a mode of mixing the shape and properties in physical or psychological way by observer.

쿠마 켄고 건축의 비물질적 표현 특성에 관한 연구

권정은 ( Jeong Eun Kwon ),김동영 ( Dong Young Kim ) 대구가톨릭대학교 자연과학연구소 2015 자연과학연구논문집 Vol.13 No.1

This paper is based on the expression characteristics of an immaterial modern architecture. After explaining about the Expressional Characteristics of immaterial, Japanese contemporary architects were chosen as representative architect of Kengo Kuma. who is architect reinterpreting in a modern accepts the view of nature on Asian History, renew the tradition of the Japanese building configuration with a variety of experimental materials typically Based on the architectural ideas of his own and Development, and the natural and architectural interpretation of tradition and regionality the connection was expressed by the regional characteristics in the space. Immaterial to examine whether how the expression in his work. And in his work immaterial expression and related to his Architectural Thoughts and explain. Consequently, His Architectural theory appeared as immaterial expression from his work. In this paper is regarded as natural and human relationship is important in contemporary architecture is one of the directions to go.

안도타다오(安藤忠雄) 건축의 비물질적 표현 특성

김동영(Kim, Dong Young) 한국주거환경학회 2020 주거환경(한국주거환경학회논문집) Vol.18 No.3

안도 타다오(安藤忠雄)의 작품을 대상으로 비물질적 표현 특성을 고찰한 결과, 본 연구의 범위 내에서 다음과 같은 결론에 이르게 되었다. 그의 작품에서 비물질적 표현특성은 그의 건축철학인 원풍경 재생의 실현을 위한 수법이라고 할 수 있다. 건축의 주된 재료로 근대건축의 유산인 콘크리트를 사용하고 형태는 가장 기본적인 삼각형, 사각형, 원 등으로 구성하는 등, 현대건축에서 가장 기본적인 물질적 수단을 이용하여 그 안에 담기는 대지내의 내외부공간에서 주변 원풍경의 자연환경과 인공환경과의 관계성을 비물질적인 표현특성을 통하여 이어가고 있다. 그러한 표현특성은 공간의 연속적인 탈경계성에 이르게 되고, 이러한 공간적체험은 본래의 개인적 자아를 성찰하게하고 물질문명에 찌든 개인의 자아를 회복하도록 안도는 시도하고있는 것이다. 투명한 재료나 직접적 동선을 계획하여 원풍경의 자연이 있는 곳에서는 자연과 공간적 탈경계성을 이루게 하고, 원풍경의 자연이 없는 곳에서는 주위의 인공환경물과 소통하도록 시도하고 있다. 그리고 가능하면 직접적으로 원풍경을 느끼게 하고 불가피한 경우는 간접적으로 그곳의 빛이나 바람 등의 원풍경 요소를 체험하도록 계획하였다. 재료적 측면에서의 투명성, 은유성 등과 공간적 측면에서의 탈장소화 등은 모두가 공간의 탈경계성을 확보하기 위한 것이거나 더욱 그러한 특성을 증대시키기 위한 수법으로 볼 수 있다. 그리고 비물질적 공간적 탈경계 특성은 내부공간의 각실 보다는 각 실을 연결하는 통로공간이나 거실공간에서 왕성하게 표현되고 있다. 건축물 종류에서는 좁은 대지의 주택이나 종교시설, 상업시설보다는 대규모의 전시시설에서 다양한 수법으로 나타나고 있다. 또한 지중미술관이나 유민미술관 등 지하건축물에서는 수직적인 지상의 하늘과 지상 연결통로에서 직접적으로 공간적 탈경계를 계획하거나 지하의 전시공간에서 천창을 통한 간접적인 탈경계적 표현과 미디어적 표현을 통한 탈장소화의 표현 등도 나타나고 있다. As a result of examining the immaterial expression characteristics of Tadao Ando’s work, the following conclusions were reached within the scope of this study. The immaterial peculiarities in his work’s are the methods which make his architectural theory: regeneration of the site’s landscape or scenery. He planned the architectures make a connection with the regeneration of around the site’s landscape or scenery to use the most of popular materials-concrete and forms-triangle, square and circle, that is modern architect’s heritage. Such immaterial peculiarities make the beyond-spatial boundary lead to reflect original personal ego and to recover personal ego who are exhausted material civilization. The site’s landscape or scenery where had the nature/artificial environment is planed to make the beyond-spatial boundary with transparent window or make the passage directly. He made the space to provide a atmosphere of the site’s landscape or scenery directly as much as possible. Otherwise, he made plans using indirect methods. On the aspect of the materials, the transparency, metaphor and the aspects of space are to make the beyond-spatial boundary or to make better such plan at all. And the immaterial peculiarities of the beyond-spatial boundary are represented at passages or livingroom than private space. In the kind of architecture, large-scale exhibition architectures were represented by various plan than the house, the religious architecture, commercial architecture of small site. The underground architecture like a Chichu Art Museum represented the beyond-spatial boundary in the ground passage with the vertical sky directly and in the underground space with splitted window indirectly. And Yu-Min Art Museum represented the beyond-site(place) with media only.

니시자와류에(西沢立衛) 건축의 비물질적 표현 특성

김동영(Kim, Dong Young) 한국주거환경학회 2018 주거환경(한국주거환경학회논문집) Vol.16 No.3

As a result of examining the immaterial expression characteristics of Ryue Nishizawa’s work, the following conclusions were reached within the scope of this study. 1. In Nishizawa"s work, immaterial expressions appeared in terms of material aspect, morphological aspect, and spatial aspect. In terms of material, the transparency of glass and the metaphor by white color appeared, and in the morphological aspect, the dynamic form of beyond-gravity of the scalpel appeared. Finally, in terms of space, beyond-boundary characteristics appeared in the interior space, between the interior space and the outer space, and between the outer space and the outer space around the earth. 2. The characteristics of the material aspect and the characteristics of the morphological aspect eventually play a role of the composition and background elements that form the characteristics of the spatial aspect. 3. Such immaterial expressions can be divided into three types according to the expression type. First, in the case of the same type as the one-room type, expressions that acquire beyond-bounding in the internal space due to the transparency of the glass wall appear in the material aspect. Secondly, the separated scalpel and the connection space are separated into several pieces, and the de-bounding between the inner and outer spaces appears due to the transparency of the glass wall in the other mouths that exist in the large outer wall. The third is in the form of a single individual inserted into the atmosphere of the surrounding environment, where beyond-gravity is mainly seen in the morphological aspect. Consequently, the glass wall-a functional boundary inside-disappears and the curved ceiling or floor surface based on the terrain is formed, and the beyond-borderline is found between interior spaces, between interor and exterior spaces and between exterior spaces(in the site, out of the site). 4. Immaterial expression characteristics tend to change from indirect method by material side of the component to direct method of morphological aspect of the building scalpel. 5. He has been working on landscape expression to provide the possibility of a relationship that can be held in free and diverse spaces through the above immaterial expression method and to create an architectural space in harmony with the terrain and surrounding environment.

비물질의 물질화를 통한 확장된 기억 오브제의 해석 가능성 연구

장준호 사단법인 한국조형디자인협회 2023 조형디자인연구 Vol.26 No.1

This study deals with the characteristics of ‘absent objects’ among the objects appearing in contemporary art in terms of the combination of memory and objects. This absent object shows a phenomenon in which the immateriality of memory is mediated through the object and becomes material. In particular, everyday objects bring back memories. And new memories are created through this object. At this time, we can examine the process of exchange between material and spirit. Concepts such as human spirit, memory, thought, and affect can be seen as immaterial experiences that are not visualized. On the other hand, if a visual artist expresses his or her immaterial experience through visualized materials or objects, it can be interpreted that the materialization of the immaterial takes place in the meantime. The purpose of this study is to focus on the aspect of 'mediation' seen in the process of expressing memories and to examine how mind and matter are realized from the aspect of 'constructed reality'. In interpreting this process, Bergson's concept of 'memory-image' and Berkeley's 'immaterialistic corpuscularian position' are analyzed. In particular, it explores how existence and non-existence, material and non-material, and visibility and invisibility can be interpreted in works of art that appear as examples. In addition, through the materialization of immateriality, it is intended to interpret the point of exploration of new possibilities emerging in art. 본 논문은 동시대 미술에서 등장하는 오브제 중 ‘부재 오브제’의 특징을 기억과 오브제 결합의 측면에서 다룬다. 부재 오브제는 기억의 비물질성이 오브제를 통해 매개되어 물질화 되는 현상을 보여준다. 특히 일상의 오브제가 기억을 소환하고 이렇게 만들어진 오브제를 통해 새로운 기억이 생성되는데 여기서 물질과 정신의 교환 과정을 살펴볼 수 있다. 인간의 정신, 기억, 생각, 정동 등의 개념은 가시화 되지 않은 비물질적 경험이라 볼 수 있다. 반면 시각 예술가가 자신의 비물질적 경험을 가시화 된 물질이나 오브제를 통해 표현할 경우 그 사이에는 비물질의 물질화가 이루어진다고 해석할 수 있다. 본 연구는 이러한 기억의 표현과정에서 보이는 ‘매개’의 측면에 집중하여 정신과 물질이 어떻게 실재화 되는지를 ‘구축된 현실’의 측면에서 살펴본다. 이러한 과정을 해석함에 있어 베르그손의 ‘기억-이미지’ 개념과 버클리의 ‘비물질주의적 입자론’에 대해 분석하고 특히 이 과정에서 예시로 등장하는 미술 작품에서 어떻게 존재와 비존재, 물질과 비물질, 가시성과 비가시성을 해석할 수 있는지를 탐구한다. 또한 이러한 비물질의 물질화를 통해 예술에서 등장하는 새로운 가능성의 탐구 지점을 해석해보고자 한다.

전통 건축 공간 특성으로 본 디지털 건축 공간의 표현특성에 관한 연구

이준호(Lee, Joon-Ho) 한국실내디자인학회 2014 한국실내디자인학회논문집 Vol.23 No.5

In the early 20st century, created distrust on the mechanistic and dualistic view based on the world of Descartes and Newton. As the features of this new science cannot be explained by the existing Western philosophy but can be explained by the thinking system immanent in the Oriental traditional thought, many scientists and philosophers are concentrating their interests on the Oriental philosophy. In addition, some have been making efforts to find solutions needed for a new paradigm from the thinking system of the Orient. A variety of discussions have also been raised in connection with architecture due to this philosophical change. It has now become possible to conduct free creative acts, staying away from physical limitations, including gravity by diversified simulations through a computer. This physical liberation in turn has caused new changes to the spatial concept of architecture, thereby granting the freedom of the expression that could not be even imagined before and opening a possibility of new architecture and space. At the same time, the digital space architecture actively accommodating this technology is generating a phenomenon that the existing physical and realistic things are rapidly being changed gradually to immaterial and unrealistic ones. This study has analyzed the properties of digital architectural space as the immateriality of our traditional architectural space. The results are as follows: It can be seen that the immaterial features exhibited in the digital architectural space and the traditional architectural one are not just interconnected with specific features, but they are correlated to all immaterial features. Thus, immateriality that are common in the traditional and digital architectural spaces is complementary organic, which is contained in the ambiguity of boundary between other spaces. It is regarded to the architecture as a living things in space diversity based on ideological similarities.

가상현실 기반의 뉴미디어아트 : 물질 혹은 비물질

전혜숙(Jeon Hyesook) 서양미술사학회 2011 서양미술사학회논문집 Vol.34 No.-

The very term virtual reality, as Elizabeth Grosz explains, attests to a real not quite real, not an ‘actual real’, a ‘really real’ but a real whose reality is at best virtual. But VR(Virtual Reality) experienced through New Media, means the technology by which we can enter into computer-made space, and aims to realize the space that viewers or users can sense a kind of ‘presence’ (an impression suggestive of ‘being there’) but objects are consisted of just light figments and electronic bits. VR produces a high-grade feeling of immersion, of presence, which can enhanced further through interaction with apparently ‘living’ environments in ‘real time’. The artworks based on VR can be categorized into the ‘Immersive VR’ that viewers must go into CAVE(Cave Automatic Virtual Environment) and the ‘Interactive MR(Mixed Reality)’ that the virtual realities are superimposed onto actual reality. Both of them propose, on the one hand, the problems of materiality/immateriality in experience of viewers, and on the other hand, the problems of body, because expanded image spaces can be experienced poly-sensorily and interactively. It is important to determine which characteristics of virtual image systems distinguish them from images of traditional artworks. It is necessary to explore and analyze the new aesthetic potential and that technology has made possible. To the artists working with computer-aided, interactive, real-time images, new possibilities of expressions are open. But is unchangeable fact that new media arts based on VR use immaterial lights. In this essay, for focusing on the issue of materiality and immateriality, I introduced the VR works of Jeffrey Shaw, Charlotte Davies, Paul Sermon, Maurice Benayoun, Romy Achituv, Camille Utterbak etc. As a conclusion, the VR artworks are in the border(in-between-ness) of the material and the immaterial, and they have a kind of second-ordered materiality, so call ‘liminal’ materiality. In the near future, we can discuss the concept of ‘Technological Materiality’ in relation to VR, that is a kind of new materiality beyond the dualist paradigm.

현대미술에서 나타나는 오브제의 물질성에서비물질성으로의 이행에 관한 연구 - 사운드아트에서 드러나는 비물질적 오브제를 중심으로

정진아 한국영상학회 2016 한국영상학회 논문집 Vol.14 No.5

오브제란 자연에서 채취한 물체나 일상적인 용도에서 쓰이는 사물들에 예술가가 예술작품의 의미를 부여함으로써 잠재된 기억과 예술적 환영 등을 떠올리게 되는 상징적 역할을 하는 대상을 의미한다. 회화와 조각의 경계점에서 출발한 현대미술의 오브제는 재현의 대상이 되기도 하고 파편적이고 혼성적 시대 가치관이나 현세적인 사태 등을 예술적 또는 비예술적 사이를 부유하는 사물성의 힘으로 작품의 형식, 내용, 태도, 지각적 담론을 구축해 가며 나아가 비물질성을 암시하는 개념과 가능성등을 배태함으로써 다차원의 융합과 교류형태로 진행한다. 오브제는 공간에서 대상으로 인식하게 되는 인지과정과 체험으로의 확장성 등으로 물질적 오브제뿐만 아니라 비물질적 오브제의 성향으로 나아가 관객과 적극적으로 소통을 촉진하였는데, 비물질적 요소들에는 연기, 냄새, 액체 등의 질료자체에 해당하는 경우가 있고 시각 외에 촉각, 후각, 청각등과 함께 공감각적 감각까지 포함하는 감각기관을 일깨우는 요소들도 있다. 이중 청각적 매체를 동원하여 신체와 심리적 경험을 다중 감각적으로 구사하여 관람자의 지각을 실험하는 경우로 완결된 오브제로서의 작품을 제시하기보다 과정과 상황 자체가 작품이 되고자 하는 사운드 아트로서의 성격을 갖는 경우도 있다. 사운드아트는 지각적 인식을 기반으로 하여 청각적으로 표현하는 미술장르로 비물질적 성격을 띄는 소리를 오브제로 사용하는데 이는 개념미술에서의 비물질적 개념의 오브제 맥락으로부터 이어지는 것이다. An object refers to an item which plays a symbolic role, by which artists grant meaning in artistic works to articles extracted in nature or things used on a daily basis to recall potential memory and even artistic phantoms. The objects of contemporary art, starting from the boundary point between painting and sculpture, become objects of reappearance, constituting the form, content, attitude and cognitive discourse of works with the power of objectness floating between art and non-art. regarding fragmentary and hybrid times, values, or temporal states, while also conceiving concepts and possibilities and suggesting immateriality and then proceeding with multidimensional convergence and intercourse forms. Objects are launched with the dispositions of material objects and immaterial objects with a recognition process to recognize objects in space and expansion as experience, communication with audiences positively, and with immaterial factors including the materials of smoke, odor, and liquids. These awaken the sensory organs, including multi-sensory senses as well as the senses of touch, smell, and hearing in addition to the visual sense. Out of this, an artist mobilizes acoustic media, commands physical and mental experience with multisensory usage while testing the viewer's recognition. This act has the characteristic of sound art in that it does not present works as completed objects, with the process and situation becoming the works instead. Sound art is an art genre expressed acoustically based on cognitive awareness, using sound and having it take on an immaterial characteristic as an object, which leading to the objective context of immaterial concepts in conceptual art.

전시공간 속 현상학적 연출이 반영된 설치작품의 공간지각요소 특성에 관한 연구

이승현(Lee, Seung-Hyeun),황연숙(Hwang, Yeon-sook) 한국실내디자인학회 2018 한국실내디자인학회 학술대회논문집 Vol.20 No.1

The study is based on M. Merleau-Ponty"s phenomenology and is observing the direct space that are made through installing immateriality works. The purpose of the study is, not like the existing ones, to understand the factors that can aware user-centered exhibition space and to understand space characteristics. The method of the study is to analyze installation artists` world of work by characteristics and redefine a concepts with 6 awareness factors by searching the preceding researches and references. Henceforth, analyze the space directing factors from the cases with the redefine the three space aware factors. And after this, search for a probability for new composition of space. The subjects of the study are the works of Olafur Eliasson, James Turrell, Yoshioka Tokujin, who are inspired from M. Merleau-Ponty`s phenomenology, among which immateriality factors are utilized. Not only analyzing for the space directing factors but also the immateriality factors in works, interaction with audience, and influence factors followed in flow of time, it was able to comprehend the difference and things in common on each artists. The phenomena that was desired to unlimited the borders of exhibition space and express immateriality factors are visually directed and the work itself becomes spatialized. There are things in common by reflecting user intervention into works and thereby adding the completion of works in works like this. Based on this, it is considered that space designs utilizing the space awareness factors based on direct characteristics can be applied to various fields of study in the future.