공간구문론을 통한 공간분석 경향에 대한 연구

이범동,이종세,김주연 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.3

(연구배경 및 목적) 공간을 바라보는 인식의 변화는 공간을 해석하는 범위와 방법의 확장성을 가져왔으며, 많은 연구자들에 의해 다각도의 연구로 이루어지고 있다. 개념에 의한 형태론, 행태에 의한 현상론 등 정성적 해석에 의한 기존의 공간분석은 공간구문론의 등장으로 물리적 형태에 대한 사회학적 관계를 정량적으로 분석할 수 있는 단초를 마련하였다. 공간구문론은 많은 연구들에 유의미하게 활용되어지고 있지만 단위공간의 관계성 외 공간의 의미와 현상에 대한 포괄적 분석에는 한계가 있다. 이에 본 연구는 공간구문론의 다양한 방법론적 데이터들의 분석을 통해 현재의 활용 현황과 향후 개선적 활용방안을 제시하는데 목적이 있다. (연구방법 및 범위) 선행연구의 영역, 분야, 시간적 특성 등 연구의 일반적 경향을 분석한 후 새로운 분석체계로 재검증하여 그에 대한 원인과 근거를 제시하였다. 연구내용의 관계성을 중심으로 통제변수, 매개변수, 독립변수, 종속변수로 분류하고 변수 영역별 공간분석 키워드(위계성 정립)를 도출하여 기호화한 변수영역별 기호체계(SSV: System of Symbol Variable)를 마련한다. 이를 이용하여 선행연구의 영역별 특성과 경향을 통시적 관점에서 정량적 수치로 분석하였다. 키워드로 ‘공간구문론’을 사용하여 RISS, 국회도서관을 통해 검색된 371개의 학위 논문 중 제목, 목차, 요약의 내용에 키워드가 직접 언급된 68개의 국내 박사학위 논문을 연구의 대상적 범위로 설정하였다. 전체 대상의 발표 시기를 시간적 범위로 설정하였다. (결과) 공간구문론을 활용한 연구는 공간의 시대적 변화와 특정 공간의 관계성에 대한 연구가 주를 이루고 있다. 이를 전기와 후기로 분류한 결과 연구의 경향 및 특성에 확연한 차이를 나타냈다. 이를 SSV로 분석한 결과 전기에는 공간구문론만을 활용하여 시대적 변화에 대한 연구경향과 특정 대상의 공간을 분석하는 연구경향이 균등한 비율로 나타난 반면 후기에는 타 이론과 병합되어 특정 대상의 공간만을 분석하는 경향이 주를 이루고 있다. 또한 전기의 연구는 공간 자체만을 대상으로 하는 반면 후기의 연구는 공간과 인식, 행태, 현상 등의 상관성에 대한 연구가 주된 경향이었다. 이는 일반적 경향 분석에 대한 원인적 근거이며 공간 구문론의 한계를 나타낸다고 판단된다. (결론) 공간구문론의 등장으로 공간분석방법에 유의미한 변화를 가져왔으나 현대에는 가시영역이론, VAE, ERAM, 등 다양한 이론들과의 병합으로 공간 구문론의 단점을 보완한 공간분석의 방법론적 영역을 넓혀가고 있다. 복합공간의 시대적 변화에 대응하기 위해서는 발전된 연구모형의 변화와 요인의 다양성, 변수간의 종속성에 의한 다중적 회귀 분석으로 좀 더 신뢰도의 발전을 가져와야 할 것이라 사료된다. 변수영역별 기호체계를 통한 분석으로 선행연구의 경향을 객관적 수치로 검증하였다는 점에 연구의 의미를 갖는다. (Background and Purpose) Changes in the spatial recognition have led to the scalability of the scope and method of interpreting space. Existing spatial analysis through qualitative research, such as morphology by concept and phenomenology by behavior, provides the first step in the quantitative analysis of sociological relations to physical forms with the emergence of space syntax. Space syntax theory has been significantly used in many studies, but the comprehensive analysis of the meaning and phenomenon of space is limited. The purpose of this study is to present the current utilization status and future improvement plans through the analysis of methodological data of space syntax theory. (Method) After analyzing the general tendency of previous research and its re-validation using a new analysis system, the causes and reasons for it were presented. Focusing on the content, the space analysis keyword was derived to prepare the system of symbol (SSV: System of Symbol Variable). Previous research has analyzed the diachronic trend in quantitative terms by using SSV. When space syntax theory was used as a keyword, a total of 68 domestic doctoral dissertations among 371 theses searched via RISS and the National Assembly Library were set as the target scope of the study. (Results) The study using space syntax theory mainly focused on the change of space and the relationship between specific spaces. As a result of classifying them into those belonging to the former and latter period, there was a clear difference in the trend and characteristics. As to the SSV analysis results, in the former period, the research tendency to analyze the space of a specific object and the research tendency to analyze the space of a specific object were found in equal proportions using only space syntax theory. However, in the latter period, the tendency to analyze only the space of a specific object in combination with other theories was predominant. In addition, former studies focused only on the space itself, while the studies from the later period mainly studied the correlation between the space and perception, behavior, and phenomena. (Conclusions) After the appearance of space syntax theory, the methodological domain of space analysis in modern times has been expanded to complement the shortcomings of space syntax theory by merging it with various theories such as visual domain theory, VAE, and ERAM. To cope with the changes in the complex space, it is considered that the reliability of the research should be improved using the multiple regression analysis based on changes in the research model, diversity of factors, and interdependency among the variables. It is significant that the tendency of previous research was verified by objective figures through analysis using the preference system for each group of variables.

아파트 평면의 단위공간 분절방식에 따른 공간구문론적 해석

박순매(Piao, Shun-Mei),윤재신(Yoon, Chae-Shin) 대한건축학회 2017 대한건축학회 학술발표대회 논문집 Vol.37 No.1

Space syntax theory does numerical calculation based on the connection of each unit of the total space. In this process, a plane should be divided intu unit spaces. When space syntax theory is used to analy sis the inside space complex of a building, the total space is redrawn as a convex plane. It means every unit spaces should be divided as a convex if it is a concave one. Therefore, the way of convex plan drawing induces variant syntactic analysis. There are some kinds of convex drawing methodes, and the most popular one is the short line division.There is also a division by function. These concepts have some restriction in the process of redrawing unit spaces, such as laking basis of dividing space, What is more, the process is physical and artificial. This paper tries to import the theory of enclosing balance in the process of dividing space so that some perceptual and psychological clues are annexed to the process.

Capture Simulation Using Space-Nets for Space Debris in Various Motions

신현철,장미,황의진,심창훈,박재상 한국항공우주학회 2023 International Journal of Aeronautical and Space Sc Vol.24 No.2

In this study, capture simulation of space debris in various motions is conducted using a space-net. A nonlinear structural dynamics analysis code, ABAQUS, is used in the capture simulation. A general contact method is used to represent both the contact between the space-net and space debris, and the self-contact of the space-net. The space debris is assumed to be a rigid body with the shape of a 12U cube-sat. The space-net is shaped as a 2 × 2 m square and modeled using nonlinear finite beam elements. The present capture simulation techniques are validated through a comparison with a capture test from a previous study. In the capture simulations, first, the process of capturing space debris in cooperative motion is understood. Second, the space-net is simulated to capture space debris in non-cooperative motion. Results show that the rotation about the z-axis contributes significantly to the rotational component of the space debris in non-cooperative motion for a successful or unsuccessful capture.

공간과 예술 , 몸 : 탈신체화와 재신체화

김종갑 새한영어영문학회 2008 새한영어영문학 Vol.50 No.1

What is the space? The question concerning the space can be posed and answered properly only in terms of the human body, since no space is thinkable without the body experiencing it. The space is coextensive with the body, and vice versa. Then the space, seemingly physical, turns out to be experiential by nature. The value, meaning, and definition of the space vary in accordance with the changes in the way of perceiving and experiencing the body. The first part of this paper is an attempt to map the boundary between two spaces. The classical space is the space--to be exact, locations--enchanted with the various human experiences. For example, there is no neutral and objective space in the mythical world of The Iliad and The Odyssey'. heroes of these epics live their idiosyncratic spaces saturated with the meanings of their life worlds. The space was the lived space. Though, such a lived space was disenchanted in the dawn of enlightenment in order to be replaced by the modern concept of the space as exemplified in the wrtings of Descartes. Descartes obtained an objective neutral space free of any human subject, by simply eliminating the presence of the human body from the space. The modern space is the space not influenced by the human body. The space becomes a substance independent of human subjects in which the link between them is severed. Now human subjects are isolated from their life world and the space is deprived of the human meaning. The second part of the paper addresses the role of the art in the modern world. The art is ways of re-enchanting the disenchanted space by reinserting the human body in the heart of the space. The art re-humanizes the space dehumanized by embodying the space disembodied. Here a question may arise concerning the ontological status of the art: Isn't the art's re-enchantment only subjective, thus another symptom of the modern world? This paper ends with the argument that the art's embodiment of the space is not subjective but communicative, since the art builds a community based on the lived space.

1960-70년대 소설에 나타난 공간의 문화정치학

김영성(Kim Young-sung) 한국어문학회 2009 語文學 Vol.0 No.103

Space in modern society is governed by power and capital. A. Lefebvre said that “Space is production.”, which implicates these relationship between power and capital. The objective of this study is to look into the cultural politics of space in the novels released in the late 1960s and in the early and mid 1970s based on these recognition and understanding. The cultural politics of space approaches from three angles when it comes to space: space, subject, power. Accordingly, the cultural politics of space includes various social discourses surrounding space as well as discussions over space as a specific place. In the 1960s and 1970s with Seoul, Republic of Korea as the center, the rearrangement of space accordingto social class of space had been progressed rapidly in Korean society. The characteristics of the period is that the extension and rearrangement of space of the period, which are dubbed as political dictatorship period since development was made under militarybacked dictatorship in the name of development especially developing countries, were done via the development focusing on speed formed by power. Through these developments focusing on speed, then those who have power have appealed to the general public that the classification of space according to social class could be justifiable. They did minimize resistance against their propaganda by guaranteeing the convenience and freedom of moving. It is fallacious these propagandasincrease only culture consumption as are verified in the novels by Lee Dong Ha, Choi Il Nam, and Choi In Ho. The general public never governs space and the general public never becomes the subject of space production. They are mere a consumer who consume the space and culture produced by the governing classes. The problem is that the culturepolitics of space in the 1960s and 1970s’ novels does reveal the features until the present day with the same aspects. Therefore, the culture politics of space analyzed through this article can be defined as not a discussion about historical facts but a discussion about current situations of the culture politics of space.

공공공간에서 나타나는 미디어 특성에 관한 연구

고귀한(Koh, gwi-han),강선경(Kang, seon-gyung) 한국실내디자인학회 2013 한국실내디자인학회논문집 Vol.22 No.1

With digital technology, space design is developing in a new direction with the changing paradigm. The space creates an interactive environment by motivating the User’s active participation through the digital madia. In this social stream, it is very important to think about how this new paradigm affects the spatial design and the interactions between social changes and spatial design paradigm, so that we can understand design paradigm of our time. Hence, in this research, we will think about social characteristic and design paradigm of digital age by questioning how spatial design is changing in the digital age and how digital technology is affecting spatial design. this study analyzed about the space form, digital media setting, user interactivity of the examples of experience space using digital media. fields of our society, interactive space with the concept of HCI became a big issue in environmental design field. In this interactive space, various types of informative factors of the given space are sent using sensor and computer networking technology to the main system, and the main computer system sends manipulated output media to interactive devices. So, a user’s movement in the space is more than just a movement itself user’s movement now forms a important spatial structure that leads the narrative of the space. Researcher will analyze the characteristic of a public space and progress this research supposing that space needs this interactive design.

Fifty Years of Outer Space Treaty: its retrospect and prospect

김한택 강원대학교 비교법학연구소 2017 江原法學 Vol.50 No.-

The 1967 Outer Space Treaty(OST) celebrates its 50th anniversary in 2017. This article deals with the OST's retrospect during the fifty years of the Treaty and its prospect in international law. Main subjects of this article focus on the followings: Freedom of Exploration and Scientific Research in Outer Space, Prohibition of National Appropriation, Application of International Law, Peaceful Use of Outer Space, Rescue and Return of Objects in Outer Space and Astronauts, International Responsibility for States’ Activities in Outer Space, Registration of Space Objects and Exclusive Jurisdiction, Respect for the Rights of Other States, Duty of Openness and Transparency in the OST. Because of the rapid development of space science and technology there is a need that there must be a new treaty instead of the OST for solving the current problems raised in the exploration and use of outer space. However, in retrospect of the fifty years of the OST some principles such as the freedom for exploration and scientific research in outer space, the principle of non-appropriation, and the principle of the respect of other countries’ rights in the OST have become customary law and jus cogens in international law. Furthermore the principles of global public interest in outer space in the OST imposes international obligations erga omnes applicable to all States. As customary international law, the OST reflects some rules that bind even those states who are not formal parties to the treaty itself. The present framework of space law incorporates a substantial body of rules in the form of treaties and sets of principles. In order to supplement the shortcomings of the space treaties there have been many soft laws such as recommendations, declarations and resolutions adopted by international organizations and regional communities. The OST represents the most fundamental and all-encompassing of the space treaties, and hence the foundation for all of space law. Thus the OST should be not only an international agreement of high importance as the constitution of outer space establishing rule of law in outer space, but also a manifesto of genuine expectations of all segments of mankind. It is therefore imperative that not only the letter but also the sprit of the OST govern space activities of States. Activities contrary to both the spirit and letter of the OST would shatter the belief in the rule of law and in the international democratic law-making process.

우주공간에서의 무기배치와 사용의 법적 지위

신홍균 한국항공우주정책⋅법학회 2017 한국항공우주정책·법학회지 Vol.32 No.2

The protection of space asset has been new major cause of space militarization. For such purpose, it has been officially announced that a policy of deterring and denying any adversaries from accessing the outer space. Space militarization is to be conversed into a new concept of space weaponization. The USA has announced its policy of space weaponization, while China and Russia have not revealed their plan or policy. Latter States, however, have proposed a draft treaty limiting the deployment of warfare in the outer space. The terms of the Outer Space Treaty, reflecting three significant United Nations General Assembly resolutions from the 1960s, support the position that ground rules must be observed in the exploration and the use of outer space, particularly in the absence of specific space law rules. Yet the combination (and culmination) of these two approaches to the legal regulation of outer space—specific rules as and when agreed by the international community and the translation of principles developed for terrestrial regulation to outer space—still leaves much room for uncertainty and exploitation for military and strategic purposes. As space weaponization may contribute to deterring the use of weapon, it may be not against the UN Charter Article 2(4). If space weaponization might generate the space debris such that the outer space is no more available for exploration and use, it is against the proportionality principle and discrimination principle enshrined in the laws of the war. But, if the limitation upon the kind and use of space weaponization is agreed among the States, then the space weaponization may not be against the laws of the war, and be considered permissible within the rationale of limited war. 2000년대에 들어서면서 우주자산의 보호가 우주공간의 군사적 이용의 정당성 논거로서 등장하기 시작했다. 특히 미국의 경우, 우주자산의 보호를 위해서는 적대적 세력의 공격에 대한 방어만이 아니라 대응하고 차단해야한다는 정책이 공식화되었다. 이에 우주의 군사적 이용이 평화적 목적을 위한 정찰이나 통신만이 아니라 적대적 세력의 우주자산의 파괴 등의 공격적 목적을 위한 이용으로 바뀌고 있다. 우주공간에서의 공격을 상정하는 무기배치와 사용은 일방에 의한 공격만이 아니라 상대방 교전 당사자의 대응을 전제로 한다. 중국과 러시아는 UN 등에서의 국제적 논의를 통해서 우주공간에 무기의 배치를 통제하려는 노력으로 대응하고 있다. UN헌장에 따른 무력사용의 금지의 측면에서 살펴 볼 때에, 우주공간에 무기의 배치는 무기의 사용 이전에 무력사용을 억제할 수 있다는 점에서, 부당한 무력의 위협이 아닐 수 있다. 우주공간에서의 전투는 공역에서의 전투의 단순한 연장이 아니라는 점에서 전쟁법 규범의 시각에서 공역에서의 전투와 다르다. 지상에서의 전투에 사용되는 하나의 공간으로서의 공역이 이해되고 공역에서의 전투에 대한 규율 논리가 인정되어 왔다면, 우주공간은 그렇지 않다. 또한 우주공간에서의 전투는 전투원이 현장에 없을 뿐만 아니라 실제 전장에서 상당히 멀리 위치한다는 점에서 다르다. 그래서 기존의 전쟁법 규범의 패러다임만으로는 규율하기에 부족하다. 우주공간에서의 전투는 상대방이 위치한 공간만을 황폐화시킬 수 있다는 특징을 갖고 있다. 우주 폐기물 문제가 그것이다. 제한전쟁론의 측면에서 볼 때에, 우주공간에서의 전투를 과거 중세유럽에서의 single war와 같이 부수적 피해가 크지 않으므로, 그런 의미에서의 제한전쟁으로 수행하는 경우이다. 이는 우주공간에서의 전쟁의 결과에 교전국이 지상전을 수행하지 않고서도 승복하는 경우이다. 이 경우가 ”허용되는 중간상태“에 가장 가까운 형태라고 판단된다. 이 경우에도 비례의 원칙 및 무차별금지원칙을 위반한다면, 위법한 전쟁이라고 보아야 할 것이다. 우주공간에서의 무기 배치와 사용의 법적 지위는 국가들의 정책 변화와 무기체계의 발전에 따라서 국가들이 어떻게 제한할 것인가에 관한 합의에 따라 결정된다고 판단된다.

2000년대 영화의 장소 기반 서사 <사랑해, 파리>

송미선,류철균 문학과영상학회 2008 문학과영상 Vol.9 No.1

Cinema has been called the art of time. However, after space studies on some films such as Green Fish (1997) and Take Care of My Cat (2001) in the early 2000s, space has become meaningful in cinema not only as background of the story, which was mentioned by Seymour Chatman, but also as motives leading the story. Paris, I Love You (Paris, Je T'Aime) (2005) is composed of 18 different stories, each of which runs for 5 minutes. Especially, this film is different from others which narrate the story according to time. This is the main reason why we selected this film for our study. This article contains two theories related to the concept of space. First, according to Tuan, space is meaningful because it reminds people of memories that they experienced there. Second, Hartmann argues that space in the real world means just a restriction, which allows all substances to reveal themselves in it. If Hartmann’s concept of space adds fancy and imagination to Tuan’s, the concept of space can reflect something more on the narration than the sense of place can. Chapter three of this article analyzes the characters and motives of the film based on this concept of space. The 18 episodes of this film show us Paris, the city of love, telling us the history, society and culture of each place. This article selects six episodes in the film and finds out the motives of homosexuality, journey and quarrels all melted in the film. In addition, this article shows that the narrative power of a film becomes stronger when people know some famous places and those knowledges inspire some imagination in their minds. This article shows that space in films acts not only as the background of the story but also as the motives leading the story itself. Cinema has been called the art of time. However, after space studies on some films such as Green Fish (1997) and Take Care of My Cat (2001) in the early 2000s, space has become meaningful in cinema not only as background of the story, which was mentioned by Seymour Chatman, but also as motives leading the story. Paris, I Love You (Paris, Je T'Aime) (2005) is composed of 18 different stories, each of which runs for 5 minutes. Especially, this film is different from others which narrate the story according to time. This is the main reason why we selected this film for our study. This article contains two theories related to the concept of space. First, according to Tuan, space is meaningful because it reminds people of memories that they experienced there. Second, Hartmann argues that space in the real world means just a restriction, which allows all substances to reveal themselves in it. If Hartmann’s concept of space adds fancy and imagination to Tuan’s, the concept of space can reflect something more on the narration than the sense of place can. Chapter three of this article analyzes the characters and motives of the film based on this concept of space. The 18 episodes of this film show us Paris, the city of love, telling us the history, society and culture of each place. This article selects six episodes in the film and finds out the motives of homosexuality, journey and quarrels all melted in the film. In addition, this article shows that the narrative power of a film becomes stronger when people know some famous places and those knowledges inspire some imagination in their minds. This article shows that space in films acts not only as the background of the story but also as the motives leading the story itself.

영화공간의 장면과 서사의 상관성 -영화 “내 꿈은 컬러꿈”을 중심으로-

송영민 ( Song¸ Youngmin ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.8

(연구배경 및 목적) 영화는 사건이 발생하는 원인과, 그로부터 유발되는 과정과 결과가 연결되는 서사구조를 토대로 만들어진다. 서사는 사건이 일어나는 공간에서 인물들의 행위와 공간구성요소들이 상호 결부되면서 시각적으로 서술된다. 따라서 영화공간의 시각화를 살펴보는 것은 영화의 서사를 해석하는 단초가 될 것이다. 이에 본 연구의 목적은 서사적 상황과 함께 작동하는 연출의 의도와 시각화방식을 논구하여 영화공간의 시각적 특성과 장면, 그리고 서사의 상관성을 제시하는 것이다. (연구방법) 첫째, 영화의 시각화와 서사구조 이론을 고찰한다. 둘째, 서사의 구성과 함께 종속되는 사건의 시간과 공간, 그리고 사건의 장소와 장면에 대하여 살펴본다. 셋째, 단편영화 두 편을 분석대상으로 선정하고 서사에 따른 주요장면들을 분절하여 서사구조에 따라 분석한다. 넷째, 분석한 결과를 토대로 영화공간의 장면과 서사의 상관성을 제시한다. (결과) 첫째, 영화공간은 의미함축의 기술적 구성으로 만들어진다. 기술적 특질로서 영화공간의 장면은 정교한 구성을 통해 인물의 행위와 심리를 드러낼 수 있다. 둘째, 영화공간에는 서사적 맥락에 결부된 상징이 배치된다. 서사에 따라 공간과 사물, 인물에 부여되는 시각화된 표식들은 강력한 상징성을 가진다. 또한 영화의 주제에 상응하는 상징물이 서사에 직접적으로 관여하고 서사의 맥락을 주도적으로 이끌어 갈 수 있다. 셋째, 영화공간에는 인물과 결속된 의미부여의 장소가 등장한다. 인물에게 규정된 공간은 특정한 사건의 서사적 상황과 심리적 변화과정을 통해 특별한 의미의 장소가 된다. (결론) 영화공간은 서사를 견인하고 서사적 개연성을 보장하는 장치로서 기능한다. 서사에 내재된 의미구현이 공간에서 이루어지며, 이는 구성요소들의 시각화에 따라 장면의 개념으로 설명된다. 장면은 공간의 시각적 목표물과 지각적 요소들이 배치되어 서사의 전체 혹은 인물의 내면을 표현한다. 이로써 영화에서 일체의 공간은 지각되는 장면의 차원과 결속되지 않을 수 없다는 연구결과에 도달하였다. 이에 따라 공간구성과 장면으로 확대되는 공간연구의 필요성을 제기하며, 향후 영화공간과 장면에 대한 연구가 후속되기를 기대한다. (Background and Purpose)Movies are made based on narrative structure linking the cause of an event and the process arising from the cause, and the results. The narrative is visually described as the actions of the characters and spatial elements are interconnected in the space where the events occur. Therefore, examination of the visualization of the movie space will be the first step for interpreting the narrative. The purpose of this study was to discuss the intention of directing and visualization methods working in conjunction with the narrative situation so as to present the correlation among visuality, scene, and narrative in the movie space. (Method)First, the theory of movie visualization and narrative structure were examined. Second, we examined the time and space of subordinated events along with the composition of the narrative, and the location and scene of the events. Third, main scenes in two short movies were segmented and analyzed according to the narrative. Fourth, based on the analysis results, the correlation between scenes in movie space and narrative was presented. (Results)First, the movie space is created with technical composition of connotation of meaning. As the technical characteristics, the scenes of movie space can reveal the behavior and psychological state of characters through elaborate composition. Second, symbols connected to narrative context are arranged in movie space. Symbols corresponding to the theme of movie can be directly involved in the narrative and lead the context of the narrative. Third, the place for assigning certain meaning connected with characters appears in the movie space. The space defined for characters turns into a place of special meaning through the narrative situation specific event and the process of psychological variation. (Conclusions)The movie space serves as a device that leads the narrative and assures the probability of narrative. The realization of meaning inherent in the narrative occurs in the space, which is explained as the concept of scene according to the visualization of components. Visual objects and perceptual elements of space are arranged in the scene to express the whole narrative or the inner side of e character. As a result, the results of study were derived that the whole space in the movie cannot but be bound with the dimension of the perceived scene. Accordingly, it raises the need for research on the spatial composition and the space that extends to scenes, and this researcher hopes that succeeding studies would investigate the movie space and scenes in the period ahead.