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¼ö·Ï»çÇ× Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý, NO.16 (1998-09)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(29) ÃÑÆäÀÌÁö(8)
ISSN 12297992
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¿ä¾à1 º» ¿¬±¸´Â ½Ç³»È¯°æ¿¡ À־ ÀÌ·¯ÇÑ µðÀÚÀÎÀÇ ±¸¼ú¹æ½ÄÀ» ±âÈ£ÇÐÀû ºÐ¼®¹æ¹ý¿¡ Àû¿ë½ÃÄѼ­ Ãß»óÀûÀ̰ųª ¸ðÈ£ÇÏ°Ô È带 ¼ö ÀÖ´Â °ø°£ÀÇ ºÐ¼®À» ±¸Ã¼È­, °´°üÈ­½ÃŰ´Â °ÍÀ» ¸ñÀûÀ¸·Î ÇÏ¸ç ±×·Î ÀÎÇØ »ý¼ºµÈ Àǹ̵éÀ» ´ã·ÐÈ­½ÃÄѼ­ °á°úÀûÀ¸·Î ½Ç³»È¯°æÀ» ºÐ¼®ÇÏ´Â ¹æ¹ýÀ» Á¦½ÃÇϰíÀÚ ÇÑ´Ù.
¿ä¾à2 The purpose of this study is to analyze the elements forming interior design and to examine dimensional relationship among the elements which form space through the comparison of the spatial language and semiotics of space for the component of interior design. In addition to that, it intends to derive the principle of design which dominate interior design and the inherent diversified meaning by comparing those elements with the square of semiotic used in semiotics. Through this comparison, the meaning of constituent forming space which can be observed through the comparison of square of semiotic, has redefined flexibility among relational system of elements and this flexible concept make the scope of environment including human being broad and enriched. This study, first of all, analyzes various phenomena of social culture, review semiotics meta-learning and examines back theoretical ground of semiotics which is needed for space analysis.
Second of all, in the area of presenting an analysis tool for meaningful analysis this report introduces the square of semiotics which was invented A. J. Greimas in order to analyze the meaning of literary work and define, three categories of the progressive research method for the analysis of interior design and research itself.
Finally, as for the analysis of meaning for interior design, this report sets the space and analyzes the space in accordance with the method and research procedure.
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È«±ÙÇ¥(Hong Keun-Pyo) ; À̰æÈÆ(Lee Kyung-Hoon) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.26 n.07 (201007)
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¿°Ã¶È£ ; ½É°æ¹Ì ; Á¶Áعè - ¿¬±¸º¸°í¼­(±âº») : 2008 n.8 (200902)
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±Ç°æ¹Î ; ±èÁ¾Áø - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : v.16 n.6(Åë±Ç 65È£) (200712)
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Á¤Áö³ª ; ±è¿ë¼® ; À̽¹Π- ±×¸°ºôµù(Çѱ¹±×¸°ºôµùÇùÀÇȸÁö) : v.9 n.1 (200803)
Surrealism Ç¥ÇöƯ¼º°ú ±âÈ£ÇÐÀû Àû¿ë¹æ¹ýÀ» ÅëÇÑ °ø°£ºÐ¼® ¿¬±¸
ÇÔº¸¾Æ ; ÀÌÂù - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : v.18 n.6(Åë±Ç 77È£) (200912)
[½Ã·Ð] 4Â÷ »ê¾÷Çõ¸í ½Ã´ë, °ÇÃàÀÇ ´ëÀÀ
À̸í½Ä(Lee, Myung-Sik) - °ÇÃà(´ëÇѰÇÃàÇÐȸÁö) : Vol.61 No.05 (201705)
Äí¸¶ Ä˰í¿Í ¼Ò¿ì ÈÄÁö¸ðÅäÀÇ `¾àÇÑ °ÇÃà`¿¡ ´ëÇÑ ¿¬±¸
Àå¿ë¼ø(Chang, Yong-Soon) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.30 n.6 (201406)
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È«¼ºÈñ ; ¹ÚÁؼ­ ; Àӽºó - Çѱ¹°æ°üÇÐȸ Çмú¹ßÇ¥´ëȸ : v.2011 n.1 (201104)
Çö´ë °ÇÃà¿¡ ³ªÅ¸³­ »ý±â·ÐÀû Ư¼º¿¡ ´ëÇÑ ¿¬±¸
Àå¿ë¼ø(Chang, Yong-Soon) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.28 n.07 (201207)
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±èÈ¿°æ(Kim Hyo-Kyeong) ; Á¤¼º¿ø(Jung Sung-Won) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.26 n.11 (201011)