• Archives of design research
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• v.17 no.2
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• pp.43-54
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• 2004

The appreciation of cultural properties related with what the aspects of society was is mandatory to understand our culture correctly. To make over all cultural properties to our descendants without breakage or damage is our natural duty and national obligation. On the contrary, inhabitants in the preserved area should be restricted and controlled by the cultural property law. The conflict between the inhabitants in the preserved area and the government raises economical problems and damages all the time. Especially it is time to discuss to mediate between them and solve the problems. This feasible study is a proposal to settle them up through renovating abolished school in the preserve area to the museum and a case to preserve the cultual properties as well as habitant's assets in that area.

• Proceedings of the Korea Water Resources Association Conference
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• 2006.05a
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• pp.1116-1120
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• 2006

하천주변 저지대에 주택이나 공장 등의 시설물 집중과 산지의 개발 및 인구 집중으로 인한 도시화 지역의 증가로 홍수 피해는 더욱 커지고 있다. 특히, 상습침수지구의 주민들은 항상 재해로부터 위험을 느끼고 있으므로 새로운 재해관리체계를 구축하여 이에 대한 확고한 대책이 필요하다. 최근 인터넷 사용의 증가로 많은 사용자들이 웹을 통해 다양한 데이터를 공유하고 있으며, 이러한 추세는 더욱 더 증가할 것이다. 인터넷은 다양한 정보를 네트워크를 통해 사용자에게 실시간으로 제공하고 있으며, 통신기술의 발전, 네트워크 통합화 속에서 그 내용과 방식이 더욱 다양해지고 있다. GIS분야에 있어서도 인터넷 네트워크를 이용하여 분산되어 있는 많은 조직이나 사용자들에게 그 기능과 서비스를 제공하는 추세로 바뀌고 있다. Internet GIS는 원격 지리정보 데이타에 대한 접근, 전송, 분석 및 GIS를 표현하는 수단으로 인터넷을 이용하는 특별한 GIS 도구이다. Internet GIS는 전통적인 GIS 소프트웨어가 가지고 있는 대부분의 기능은 물론 인터넷 및 그와 관련된 WWW 및 FTP 프로토콜의 장점을 가지는 부가적인 기능들을 포함할 수 있다. 이들 부가적인 기능은 원격 데이타 및 응용 프로그램의 교환, 지역 컴퓨터에 GIS 응용 프로그램 없이 GIS 분석 기능을 수행, 인터넷상에서 상호작용하는 지도 및 데이타를 표현하는 기능들을 포함한다. Internet GIS는 객체지향적이고 상호운영적이며, 분산적이라는 주요한 특징을 갖는다. 인터넷에서 각각의 GIS 데이타 및 기능성은 하나의 객체로서 서로 다른 서버에 위치하며 필요시 조합 또는 통합되어 운영된다. Internet GIS를 이용한 상습침수지구 지역정보 제공사이트를 구축하기 위해서는 인터넷으로 서비스 할 수 있는 인터넷용 상습침수지구 GIS기본도를 구축이 필요하다. 인터넷 서비스를 위한 상습침수지구 기본도는 또 다른 형태의 주제도라고 볼 수 있으며, 이를 구축하기 위해서는 자료변환 및 가공이 필요하다. 즉, 각 상습침수지구에 필요한 지형도는 국립지리원에서 제작된 1:5,000 수치지형도가 있으나 이는 자료가 방대하고 상습침수지구에 필요하지 않은 자료들을 많이 포함하고 있으므로 상습침수지구의 데이터를 인터넷을 통해 서비스하기 위해서는 많은 불필요한 레이어의 삭제, 서비스 속도를 고려한 데이터의 일반화작업, 지도의 축소.확대 등 자료제공 방식에 따른 작업 그리고 가시성을 고려한 심볼 및 색채 디자인 등의 작업이 수반되어야 하며, 이들을 고려한 인터넷용 GIS기본도를 신규 제작한다. 상습침수지구와 관련된 각종 GIS데이타와 각 기관이 보유하고 있는 공공정보 가운데 공간정보와 연계되어야 하는 자료를 인터넷 GIS를 이용하여 효율적으로 관리하기 위해서는 단계별 구축전략이 필요하다. 따라서 본 논문에서는 인터넷 GIS를 이용하여 상습침수구역관련 정보를 검색, 처리 및 분석할 수 있는 상습침수 구역 종합정보화 시스템을 구축토록 하였다.

• Archives of design research
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• v.14 no.3
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• pp.197-210
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• 2001

There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

• Archives of design research
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• v.19 no.2 s.64
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• pp.283-292
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• 2006

The Plastic material had been developed in the middle of the 19th century as an alternative material. Along with the development of the electrical engineering industry, it cropped up into center stage as an effective material and has increasingly expanded its use. As such, the plastic material has bound deep-seated ties with the design activities of industrial products, coming into the main material for a variety of industrial designs. Despite its dose affinity to design function in terms of its materialistic property, we have rarely seen examples of intensive study on the realtionship between plastics and designs. This study aims to find the importance that the substance affects industrial products in designs along with the development of plastic materials. With the objective in mind, we made a review of the streamline stylishness that had flourished in the twenties and thirties of the 19th century. Through this study, we understand that the plastic material has a close realtionshop with design activities in three different aspects. First, its amorphous state of nature makes it possible to change into any shape one desires in plastic surgery, which feature in turn influences the moulding of any design forms. Second, the plastic material is best suited to mass-manufacture, which induces to reduce the cost of production. Hence, the expansion of design industry. Third, the plastic material allows the multiple variety of colors, sensitivity, gloss and patterns and infinitely large possibility ranging from natural senses to human senses with the result that numberless diversity of designs cdould come into being.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.37-62
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• 2020

The earth is a natural material that has natural healing power,,as a natural ingredient, it brings environmental friendliness, emotional. In this Research, for one of the methods to expand the benefits as a healing space, Construction of the Earth design and earth construction methods have been actively used for effectiveness of the Earth in the construction of the interior with the oriental medical clinic. By utilizing the concept of biophilic design as a healing environment design, symbolizing nature such as color, light, plants, flowers, and natural materials such as earth and wood was directed as oriental medicine interiors. In addition, the space was divided according to the movement of patients and used different Earth construction method to each of the space for the distinction and differentiation according to the characteristics of each space. At this time, the Earth was constructed with materials and finishing materials that meet the highest grade of HB (Healthy Building), an eco-friendly building material certification grade without additives, so that the interior and medical treatment concept can be done at the same time. By using Earth as the basis of elements in the construction, and the design of healing space, patient the concept of Biophillic as a healing environment design. This may serve as a technical, aesthetic, and cultural basis for constructing a healing space by Earth in the future-oriented alternative, it may lead to necessity of eco-friendly and ecological architecture, and it may be an opportunity to expand the application area of earth in architectural design.

• Knowledge Management Research
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• v.23 no.2
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• pp.123-142
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• 2022

The non-face-to-face environment accelerated by COVID-19 has speeded up the dissemination of digital virtual ecosystems and metaverse. In order for the metaverse to be sustainable, digital twins that are compatible with the real world are key, and critical technology for that is AR (Augmented Reality). In this study, we examined research trends about AR, and will propose the directions for future AR research. We conducted LDA based topic modeling on 11,049 abstracts of published domestic and foreign AR related papers from 2009 to Mar 2022, and then looked into AR that was comprehensive research trends, comparison of domestic and foreign research trends, and research trends before and after the popularity of metaverse concepts. As a result, the topics of AR related research were deduced from 11 topics such as device, network communication, surgery, digital twin, education, serious game, camera/vision, color application, therapy, location accuracy, and interface design. After popularity of metaverse, 6 topics were deduced such as camera/vision, training, digital twin, surgical/surgical, interaction performance, and network communication. We will expect, through this study, to encourage active research on metaverse AR with convergent characteristics in multidisciplinary fields and contribute to giving useful implications to practitioners.

• Korean Journal of Cognitive Science
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• v.15 no.2
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• pp.1-15
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• 2004

The structure of sensibility from motion was developed for the purpose of understanding relationship between sensibilities and physical factors to apply it to dynamic visual display. Seventy adjectives were collected by assessing adequacy to express sensibilities from motion and reporting sensibilities recalled from dynamic displays with achromatic color. Various motion displays with a moving single dot were rated according to the degree of sensibility corresponding to each adjective, on the basis of the Semantic Differential (SD) method. The results of assessment were analyzed by means of the factor analysis to reduce 70 words into 19 fundamental sensibilities from motion. The Multidimensional Scaling (MDS) technique constructed the sensibility space in motion, in which 19 sensibilities were scattered with two dimensions, active-passive and bright-dark Motion types systemically varied in kinematic factors were placed on the two-dimensional space of motion sensibility, in order to analyze important variables affecting sensibility from motion. Patterns of placement indicate that speed and both of cycle and amplitude in trajectories tend to partially determine sensibility. Although color and motion affected sensibility according to the in dimensions, it seemed that combination of motion and color made each have dominant effect individually in a certain sensibility dimension, motion to active-passive and color to bright-dark.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.81-90
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• 2009

This study seeks those elements that form a sense of place in Yen-Ben Street, which represents a typical ethnic enclave in Seoul, to provide a basic resource in the creation of an urban landscape that can provide a positive space for cultural diversity. The results of the study can be summarized as follows: First, the element of a physical environment that develops a sense of place was in fact the poor dwellings that correspond to the economic condition of Korean Chinese. While this element has a negative cognition to outsiders, Korean Chinese feel positively toward it. Secondly, signboards were a physical element of sense of place which retains cultural identity as a means of communication inside the community. Thirdly, it was found that activities such as shopping, recreation, and the exchange of information that are found in the pursuit of daily life act as an essential element in the formation of a sense of place even more than architectural elements. Fourthly, the appropriation of space by Korean Chinese and the isolation from the surroundings were obvious. This isolation is perceived as a negative sense of place formation to outsiders in Yen-Ben Street. Fifthly, the aspects of cultural dualism, mingling the concepts of home country, language, writing, and food have also affected the formation of a sense of place in the area. Sixthly, transience was a prominent phenomenon of Yen-Ben Street and is strengthened by illegal immigration. Although transience causes negative impacts such as in a lack of concern for the residential environment, it acts as a positive factor in the sense of place by mitigating uneasiness, and strengthening insider ties and cooperation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.