• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.229-239
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• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.

• 한국정보컨버전스학회:학술대회논문집
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• 2008.06a
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• pp.125-128
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• 2008

The aim this master thesis is to find out if is possible to Integrate haptic hardware support in the source 3D game engine Crystal Space. Integrating haptic support would make it possible to get a haptic representation of 3D geometry in Crystal Space and therefore take advantage of all the benefits a 3D game engine provides, when building haptic applications, An implementation of the support should be as low-cost as Possible by taking advantage of available source haptic API alternatives. The thesis report presents an evaluation of available haptic APIs and comes up with a design and an implementation. The solution has been implemented as a Crystal Space plugin by using modified parts of the e-Touch open module API. The plugin makes it possible to utilize the Phantom haptic device to touch and feel the 3D environments in a Crystal Space application. Two demo applications have also been constructed to show the capabilities of the plugin.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.162-170
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• 2013

Although vision has been considered as a top sensory organ in the Western culture until modern times, the significance of space experience that communicates with a body via complex perceptions has recently garnered attention. This study criticizes the limitations of a vision-centered space and has the goal of empirically examining the sensibility characteristics in a haptic space through post-structuralism views leading up to Gilles Deleuze's philosophical ideas. This study will explore the flow of senses from the philosophical and artistic standpoint and the sensibility characteristics in a haptic space by examining the theories on haptic perceptions in connection with a space. In order to test the existing theories and identify the differences in sensibilities depending on perceptual method, the sensibilities of participants were compared using SD method (Semantic Differential scale method) and a validity test was conducted using a statistical program SPSS. The research has revealed that the average sensitivity scale of complex haptic perception was higher than single perception that only relies on vision. In addition, there was a correlation between perceptual method based on various sensory organs and human sensitivities. This study is meaningful in that it can serve a foundation for empirical research on sensibility, since it has reexamined the relationship between space and participants and demonstrated and analyzed their sensitivities through an experiment.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.100-111
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• 2013

The theories of optical/haptic perception provide us contrasting insights into the perception of space in movie and architecture. Through the lenses of these theories, this study aims to analyse the optical and haptical aspect of the medieval library of the film, The Name of the Rose. The dominance of vision over the other senses has been maintained by many philosophers, such as Plato, Aristotle, and Aquinas, and this trend leads to the development of the hierarchical and perspective space of Renaissance and Modern Architecture. Those conceptions of optical space help us not only identify space as clear and distinct three-dimensional entity but also separate the subject and the object. However, tactile/haptic perception is more useful to explain the experience of film and contemporary architecture than optical perception. This haptic space is developed by Alois Riegl, Walter Benjamin, and Gilles Deleuze. This study intends to search for the difference between two perceptions on the architectural space of the movie, examine the relation between architecture and human, space and user.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.68-78
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• 2013

The purpose of this study is to investigate Seonyudo Park and Kkummaru in terms of haptic space. This is an attempt to escape from the limits of optical space that identifies the space with abstract concepts. Haptic perception of the space refers to feeling the space with all the senses through non-hierarchical interactions. Time of the haptic space is revealed by Deleuze's crystalline description and Bergson's pure recollection that is not useful to identify objects. According to two concepts, the running present forks into the past and the future, and the nature of time appears at the point of indiscernibility in which the past, present, and future coexist. Thought on time about the architecture provides a valid point of view to understand the relationship of visitor's sensory experience of space, recollection, and emotion. In this respect, it can be said that Joh sung-yong's two works explored for new areas of architectural experience by building up the potential image of the subject which is placed in the human memory. And then this study shows that two works recover the relationship between the past and the present so that they give an opportunity to consider the meaning of time in the architecture.

• Journal of Computing Science and Engineering
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• v.10 no.1
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• pp.32-38
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• 2016

Navigating a large 3D virtual environment using a generic haptic device can be challenging since the haptic device is usually bounded by its own physical workspace. On the other hand, mouse interaction easily handles the situation with a clutching mechanism-simply lifting the mouse and repositioning its location in the physical space. Since the haptic device is used for both input and output at the same time, in many cases, its freedom needs to be limited in order to accommodate such a situation. In this paper, we propose a new mechanism called Z-Clutching for 3D navigation of a virtual environment by using only the haptic device without any interruption or sacrifice in the given degrees of freedom of the device's handle. We define the clutching state which is set by pulling the haptic handle back into space. It acts similarly to lifting the mouse off the desk. In this way, the user naturally feels the haptic feedback based on the depth (z-direction), while manipulating the haptic device and moving the view as desired. We conducted a user study to evaluate the proposed interaction technique, and the results are promising in terms of the usefulness of the proposed mechanism.

• Journal of KIISE:Computing Practices and Letters
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• v.13 no.6
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• pp.412-416
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• 2007

In this paper, we present a haptic virtual exhibition space that allows users to interact with 3D graphic objects not only through the sense of sight but also through the sense of touch. The haptic virtual exhibition space offers users in different places some efficient ways to experience the exhibitions of a virtual musical museum using the basic human senses of perception, such as vision, audition, and touch. Depending on 3D graphic objects, we apply different properties to let those feel realistic. We also provide haptic device based navigation which prevents users from rushing between various interfaces: keyboard and mouse. The haptic virtual museum is based on Client-Server architecture and clients are represented in the 3D space in the form of avatars. In this paper, we mainly discuss the design of the haptic virtual exhibition space in detail and in the end, we provide performance analysis in comparison to other similar applications such as QTVR and VRML).

• 제어로봇시스템학회:학술대회논문집
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• 2005.06a
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• pp.1662-1667
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• 2005

In this paper, analysis, design, control and prototype construction of a wearable wire-driven haptic interface called HapticPen is discussed. This device can be considered as a wire driven parallel mechanism which three wires are attached to a pen-tip. Wire tensions are provided utilizing three DC servo motors which are attached to a solid frame on the user's body. This device is designed as input as well as output device for a wearable PC. User can write letters or figures on a virtual plate in space. Pen-tip trajectory in space is calculated using motor encoders and force feedback resulting from contact between pen and virtual plate is provided for constraining the pen-tip motion onto the virtual plane that can be easily setup by arbitrary non-collinear three points in space. In this paper kinematic model, workspace analysis, application analysis, control and prototype construction of this device are presented. Preliminary experiments on handwriting in space show feasibility of the proposed device in wearable environments.

• The Journal of Korea Robotics Society
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• v.8 no.3
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• pp.173-178
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• 2013

We present six-degree-of-freedom (6DoF) haptic rendering algorithms using translational ($PD_t$) and generalized penetration depth ($PD_g$). Our rendering algorithm can handle any type of object/object haptic interaction using penalty-based response and makes no assumption about the underlying geometry and topology. Moreover, our rendering algorithm can effectively deal with multiple contacts. Our penetration depth algorithms for $PD_t$ and $PD_g$ are based on a contact-space projection technique combined with iterative, local optimization on the contact-space. We circumvent the local minima problem, imposed by the local optimization, using motion coherence present in the haptic simulation. Our experimental results show that our methods can produce high-fidelity force feedback for general polygonal models consisting of tens of thousands of triangles at near-haptic rates, and are successfully integrated into an off-the-shelf 6DoF haptic device. We also discuss the benefits of using different formulations of penetration depth in the context of 6DoF haptics.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.3 s.116
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• pp.23-31
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• 2006

Multi-sensory design results from sensory design paradigm and image centricism, which stimulates 5 sensation; visual, auditory, haptic, smell and taste sensation when we experience environment. This is helpful for designing outdoor space considering integrated sensation not only visual and auditory sensation as well as for improving visitor's satisfaction. Therefore, this study mainly intended to analyse the multi-sensory preference and the image influence of outdoor leisure space. For these purpose, this study selected 3 leisure spaces around Seoul city; Gwan-ak mountain(the type oriented natural resource), Insa-dong(the type oriented cultural resource) and Seoul land as theme park(the type oriented facility) and a survey was performed with a total of 204 visitors at the above spaces in winter and summer. The results of this study indicate that visual sensation was evaluated most high at 3 outdoor leisure spaces in both winter and summer. Visitors at Gwan-ak mountain and Seoul land prefer visual and haptic sensation, but visitors at Insa-dong prefer visual and haptic sensation in summer, visual and taste sensation in winter. Above all, this study led the designer to consider diverse sensation to access leisure space, especially haptic sense, which can be an effective design strategy to satisfy visitors.