• Journal of architectural history
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• v.15 no.4
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• pp.57-73
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• 2006

To begin with the purpose of protecting human life from the exterior in the prehistoric age, architecture was nothing but a shelter without any relation between the exterior and the intoner. But, today, with the community developed, architecture can not be resisted with her own function and have to change of the reciprocal one. Different with the oriental architecture, we can see, western architecture has developed in the stream of the form. The main idea of the space in terms of the relation, above all, is mostly concerned with relation between the exterior and the interior like between the architecture and the city. So the role of the facade in depth is the intermediation which consist to the relation in the exterior and interior of architecture. Considering a relation between two elements; the exterior and the interior, we can be inspired in the case of paintings, especially in the works of the Paul $C\acute{e}zanne$. $C\acute{e}zanne$ originally show the depth of space by different disposition of three parts : the background, the objects and intermediate space between the former. For instance, different with the other painters who put the background rear in the canvas and objects in the front of the background, $C\acute{e}zanne$ took the background and objects a same value and assure a depth in space by virtue of the intermediate space. Finally, by putting the background in forward of layer in the canvas and objects situated behind the background, the depth of the space can be occurred. Same as the idea of $C\acute{e}zanne$, Giuseppe Terragni and jean Nouvelle in architecture also intensify their effects through the activation of intermediate space between the interior facade and exterior frame. Not limited in the relation with the architecture and the city, space in relation gives us a higher quality of architectural promenade in depth.

• International Journal of High-Rise Buildings
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• v.6 no.3
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• pp.261-269
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• 2017

Designed by star architect of Moshes Safdie, Raffles City Chongqing includes a total of 6 mega high-rise towers 250 to 380 m tall, a sky conservatory, a 5-storey high shopping mall and a 3-storey basement car parking. Located at the confluence of the Yangtze and Jailing Rivers, the site for the project is imbued with a significance that is immediately symbolic, both as a sign of Chongqing's important past and as a vivid indicator of the city's thriving present and future. The design for the project to be situated at this gateway takes as its governing idea the image of powerful sails upon the water. The outer facades of the project's eight towers - the transparent surfaces that will face the water to the north - are meant to recall a fleet of ancient Chinese ships, with their huge rectangles of white canvas filled by the wind. This is a $1.13million\;m^2$ mega scale integrated project of office, retail, hotel, service residence and high-end residence with the transportation hub and traffic circulation at various levels of the project. This paper presents the multi-dimensional hybrid design, engineering and construction of this mega scale project. The innovations and the cutting-edge technology used in this project are introduced and discussed benchmarking the design and construction of the skyscraper cluster in a major city like Chongqing of China.

• Computers and Concrete
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• v.29 no.6
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• pp.375-391
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• 2022

This paper examined the impact of the cross-sectional structure on the structural results under different loading conditions of reinforced concrete (RC) members' management limited in Carbon Fiber Reinforced Polymers (CFRP). The mechanical properties of CFRC was investigated, then, totally 32 samples were examined. Test parameters included the cross-sectional shape as square, rectangular and circular with two various aspect rates and loading statues. The loading involved concentrated loading, eccentric loading with a ratio of 0.46 to 0.6 and pure bending. The results of the test revealed that the CFRP increased ductility and load during concentrated processing. A cross sectional shape from 23 to 44 percent was increased in load capacity and from 250 to 350 percent increase in axial deformation in rectangular and circular sections respectively, affecting greatly the accomplishment of load capacity and ductility of the concentrated members. Two Artificial Intelligence Models as Extreme Learning Machine (ELM) and Particle Swarm Optimization (PSO) were used to estimating the tensile and flexural strength of specimen. On the basis of the performance from RMSE and RSQR, C-Shape CFRC was greater tensile and flexural strength than any other FRP composite design. Because of the mechanical anchorage into the matrix, C-shaped CFRCC was noted to have greater fiber-matrix interfacial adhesive strength. However, with the increase of the aspect ratio and fiber volume fraction, the compressive strength of CFRCC was reduced. This possibly was due to the fact that during the blending of each fiber, the volume of air input was increased. In addition, by adding silica fumed to composites, the tensile and flexural strength of CFRCC is greatly improved.

• Archives of design research
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• v.20 no.1 s.69
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• pp.65-78
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• 2007

The mobile phone and wireless network, location based technology and other newly introduced technologies and communication media gave birth to the new terminology "ubiquitous" and are changing our daily life. Influence of such technologies and communication media is not an exception in the arts. New media art pieces using these technologies are increasing, and taking on the characteristics of public art within a wider scope of a city as a backdrop, beyond the traditional boundaries of art galleries. Of such art, locative media art using locative media has a closer relationship with city space than any other form of an, and makes various attempts to allow the spectator to reinterpret and experience city space and induce communication. These characteristics of locative media art can be considered as a method that can solve quality problems of the city space, especially the loss of the sense of place and the absence of communication. is one such locative media project with a purpose of solving quality problems of city space, especially the recovery of commercial sites and inducing communication. This project uses the paths of the city as its canvas, movement of people as its brush, the color of the roads as its pallet, and by allowing the partakers to draw paths of their own and to share their paths with others. People are encouraged to share stories about their paths. The project proceeds using barcodes that are frequently used commercially. When users wish to create their own place, they can enter their place and colors of their choice using input devices installed in the city space. Paths that are created through such a process will be displayed in public areas throughout the city, shared with others, and can create and share a stories about the city using on/off-line media.

• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.241-247
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• 2020

In the late 16th century, the Theatrum Anatomicum or anatomical theatre opened in Leiden in the Netherlands. The theatre was open to a fee-paying audience of students, surgeons, and the public and soon settled down as one of the highbrow cultural activities in the city. This trend soon spread into Amsterdam, and Nicholaes Tulp appearing in Rembrandt van Rijn's was at the center of it. Human anatomy was not just an eyesore but started to get accepted as a cultural event for the civilized citizens of the time. It was with this backdrop that Rembrandt got inspired by this interesting scene of Tulp dissecting human body. Rembrandt well understood the changes of the time and captured them on canvas to attempt convergence between science and art.

• 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.

• Journal of Internet of Things and Convergence
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• v.7 no.4
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• pp.51-58
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• 2021

This study is a quasi-experimental study designed to examine the effects of color therapy on job stress and depression by applying color therapy to intensive care unit nurses. The subjects of this study were S hospital located in S city, a secondary medical institution with 500 beds, P hospital located in B city, and nurses in the intensive care unit of two general hospitals. The data collection period was 8 weeks from November 2, 2020 to December 25, 2020, with 29 patients in the experimental group and 29 in the control group. The data were analyzed by chi-square test, independent t-test and paired t-test using the SPSS WIN 22.0 program. The experimental group applied color therapy twice a day (before and after work) using a standardized canvas frame painted in yellow, red, blue, and three colors, and a total of 20 times for 10 days, and the control group lived and woked as usual without appiled color therapy. As a result of study, the experimental group showed a significant decrease in job stress score by 0.43 points and depression score by 0.26 points compared to the control group

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6478-6483
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• 2014

Media facades project images on the external walls of a building as a screen. Such facades can recover the cultural emotions of users tired of a high level of market competition in urban spaces and develop into urban aesthetics and be reinterpreted as an image design as the city becomes a topic as well as the target projected. From a cultural perspective, the artistic possibility and strengthening of publicness of media facades are discussed. One of the considerations is that it should be the medium communicating with the building or surrounding of the projected target. Urban landscape media facades, such as 2014 Gwanghwamun media facade, 2014 Sejong Center for the Performing Arts media facade and 2013 Namsan media facade were compared and analyzed. As a result, four types of image design components could be derived such as motifs, concepts, stories and projection types. Media facade, which is establishing itself as a new technological genre beyond canvas and theater screens, should contain messages, themes and technological advances as a higher level of the urban symbolic art form in the future. This paper derived the components of image design through the comparative analysis of symbolic urban landscape media facade.

• Journal of Appropriate Technology
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• v.6 no.2
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• pp.200-207
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• 2020

The purpose of the establishment of Fab Lab is to promote the sustainable development of local communities around the world. To this end, The Fab foundation are preparing a resource-circulating society that maintains a city's self-sufficiency rate of 50% or more by 2054. In developed countries, Fab Lab is not only a manufacturing space for startup support, but an open innovation space for learning and creation. In addition, in emerging countries, Fab Lab is playing a role as a digital production center to create and share appropriate new technologies by reflecting the needs of local communities. India has 70 Fab Labs, the largest emerging country, ahead of Russia's 48. India's Fab Lab is conducting a collaboration project through regular meetings held every six months. The subject of this study, Fab Lab Vigyan Ashram, is defined as a place to transfer the concept of digital lab to alternative schools in rural India. In this study, we looked at a case in which an alternative school for an agricultural community called Vigyan Ashram, the modern version of the Gurukula system, successfully combined with the digital fabrication called Fab Lab to become a new citizen-led making community of the 4th Industrial Revolution. Based on this, we explored the development model of the Indian Fab Lab that fits the local situation.