Primavera, verano, oto o, invierno... y primavera

The article talk about the relationship between nature, architecture and landscape in the Kim Ki Duk’s movie Spring, summer, autumn, winter… and spring, (Korea, 2003). First, the adequacy of the cinema appears as external and critical insight on the disciplines of the environment transformation. Secondly, about the conception of space that raises the movie. And thirdly, these concepts are related to diverse contents, between the China landscape classic painting, the Taoist philosophy and the idea of emptiness