• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 1993.10a
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• pp.38-43
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• 1993

현재의 오피스는 공간이 좁고, 바닥위의 배선이 장애물이며, 형광전구가 노출된 조명으로 실내 작업환경에 대한 고려가 매우 미약한 점에 의심할 여지가 없다고 생각된다. 특히 OA기기의 도입에 따른 집무 공간의 감소, 프린터 소음, 기기의 발생열, 배선, VDT(Visual Display Terminal:화면이 있는 OA기기) 작업과 관련된 환경 관리, 작업관리, 건강관리의 필요성등의 문제가 발생하고 있다. 그러므로 쾌적한 분위기를 구성요소로 조명은 실의 LAY OUT, 표면처리, 배색등 인테리어 디자인과 함께 그 효과를 최대한으로 연출하도록 되리라 생각된다. 따라서, 자연채광 이용을 통하여 절감될 수 있는 인공조명(형광등)의 제어방법으로서 본 논문에서는 점멸방식(ON,OFF)을 시도하였으며 점멸에 따른 급격한 조도저하를 보다 심리적인 차원을 고려한 실내조명 조광장치(천정형태와 외부에 댄 반사판)로 인한 실내조도 분포의 영향에 대하여 파악하고자 하였다.

• Journal of Digital Contents Society
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• v.14 no.3
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• pp.367-379
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• 2013

The Media facade is valuing more than utilizing to the display space and has potential as a new urban culture. The possible role of the contents, which can be a variety of expression can be seen that the more importance. Using narrative structure, which is a component of the story, discourse, temporality, spatiality, to analyze to the contents of media façade and this study suggests that new contents of narrative is an appropriate utilization at the new media environment.

• Archives of design research
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• v.15 no.4
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• pp.77-86
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• 2002

3D computer applications provide various functions such as modeling, rendering, animation, lighting and so on. Lighting is the core element in that light visualizes shape and develops characteristics of surface. In spatial design, light is the most important factor in deciding color, texture and illumination level which are the basic factors of spatial design. The purpose of this study is to define the characteristics of lighting in digital space provided by the computer, based on the fact that physical space cannot be separated from digital space, and to show how light in the physical realm relates to computer graphics technologies. This study shows there are following characteristics of light in digital space; iconic light, modifiable surface, shadowless light, 2-dimensional perception, and the particulate aspect of light but not the wave aspect of light. Light in physical or digital space is capable of producing a visual sensation. The experimental space can be realized due to the lack of physics. Further study in new illumination procedures are required as computer media expands.

• Journal of the Korea Furniture Society
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• v.10 no.2
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• pp.79-86
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• 1999

본 연구는 국내가구 디자인 산업의 경쟁력 강화를 위한 사례의 하나로 디자인 작품을 시도하게 되었다. 지존의 디자인 모델링은 소프트 모델 또는 목업(mock up)개념에서 시행되어 디자이너가 직접 제작하기 전에는 3차원의 형상을 구현하기가 어려웠으며, 더욱이 문야의 적용은 실크스크린 또는 인쇄와 같은 처리기법으로 사용되었다. 이 방법은 시간, 경비, 공간, 자료의 보관 및 축적, 기타의 많은 문제점과 생산성 향상에 애로사항이 되어왔다. 요지와 같이 많은 문제점과 렌더링의 데이터베이스 뱅크는 활용 가능한 분야와 직종에 따라서 응용 가능하기 때문에 많은 실험적 시도가 요구된다. 디자인의 발상은 우리나라 전통문화의 가구디자인을 접목시킨 사례로서 시도하였으며, 형태와 문양을 현대적 개념에서 재해석하여 대입시켰다. 적용디자인 사례는 2개의 모델에 10가지의 패턴을 복합적으로 활용한 디자인 작품의 결과물이다. 이러한 결과는 다양한 디자인 연출과 시안을 추출할 수 있으며, 디자인 활동과 설계에 능률을 배가시키는 효과를 검증할 수 있겠다.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.597-604
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• 2012

In order to actualize the third dimension form, hologram is coming to attention because it has no restriction on viewing position and is capable of natural visual expression. Although hologram technology is the best method to embody 3D image without glasses, it is not commercialized due to several technological problems. Currently used hologram technology in concerts or exhibitions are images flashed on a 2-dimensional transparent screen by HD projectors which is similar to hologram technology, not truly same. In this research, we make 3D contents for Holographic projection and use these contents to present art that can interact with spectators. As a result of the exhibition, attendance showed satisfaction on inspection form, allowing spectators to move around the screen and view it both sides; moreover, they were enterprising to interact with the videos played according to their movements. Therefore, we are able to implement a sensible and spatio-temporal artwork along with interesting space production and represent a intimate and interactive space with the public.

• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.213-222
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• 2019

This article aimed at change patterns of representations of male character and cinematic space in 2000s korean division films. The concept of division film is the unique particularity film in the narrative and representation about Korean division. The Gancheop is the special character of korean films and have been reproduced in a variety of ways. In the past, Korean films have been dealt with Korean Civil War and 'special nature' of inter-korean ties. But in the 2000s, the representation of Gancheop in films has begun to change and filmed in a variety of genres such like comedy, thriller, romance and so on. , , are consistent with close relationship of male characters. The relationship is represented as friend, brother, partner. The meaning of these changes symbolizes our concept of national unification.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.426-432
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• 2008

We introduce a method of rendering a scene lying 3D objects which is like that artist draw on a canvas by brushing. Painting is the art area presenting something created by color and line on 2D plane. We are brushing on billboards on screen space for the 2D brushing effect according to the definition of "Painting". Brushing orientation is haven to rotate for preventing the orientation in the first scene in the case that object or camera are moving. If the brushing isn't rotated, shower-door effect is watched on the scene as undesirable result We present a brushing rotating method for keeping the orientation changing the direction of view and object rigid animation. The brushing direction is computed with Horn's 2D similarity transform by least-square solution. We watched the changing brushing to track the motion of object and view.

• Cartoon and Animation Studies
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• s.31
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• pp.209-226
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• 2013

With rapidly changing multimedia environment, various artistic changes and digitalized up-to-date social infra, urban environment construction based on culture contents has been activated. The large image in front of urban building that is expressed as media-façade, increasing rapidly in a recent period, is not a new thing at all. In addition, IT technology molten in city space is testing the possibility of new media through the meeting with architecture. However, unlike its infra enlargement, the definition about media-façade is not clear so the system was constructed in a level of night lightscape or outdoor image advertisement. The purpose of this guideline is the regulation from the negative aspect rather than the possibility of various visual, artistic media expressions. Therefore, it could not show essential concept of media-façade. Moreover, most of companies or building owners focus on short-term profit and marketing effect rather than prepare various contents so they can not use constructed infra properly. After all, in many cases, they discolor the meaning of media-façade. This paper is a pilot study to grasp the current definition of media-façade to construct right guideline of media-façade. On the basis of this study, it will prepare academic definition of media-façade and construct the guideline for design evaluation.

• Cartoon and Animation Studies
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• s.43
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• pp.1-22
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• 2016

So far, the Studio Ghibli's major masterpieces, and have been studied extensively from mythical and psychological perspectives due to the films' intrinsic symbolism within their characters and events. However, there have been insufficient in-depth research on the types of love the two works have. Therefore, this study will focus on how the types of love in the two animations mirror the concept of love in Plato's theory of Eros through the analysis of two films' characters. The desire for memory and recovery can be seen in , and glimpses of each phase of aim towards changes in physical appearance can be shown in . These describe the function and the purpose of Eros that Plato states in Socrates' terms in Phaedrus and Symposium. Plato ultimately defined Eros as a spirit that leads to the world of Ideas and suggested the five stages of love that are divided in accordance with the ultimate purpose and attitude of mankind towards Eros. The cognition area, changes in appearance of the characters and spatial ranks in and critically reveal such core concepts of the theory of Eros. It is noteworthy that the two works show the origin of the most universal ideology of the West. These two animation films are particularly significant in terms of that they reflect the western epistemology while covering exclusive and covert ethnic emotions.