• Journal of the Korea Furniture Society
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• v.12 no.2
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• pp.61-71
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• 2001

In furniture design, it is very important to choose adequate materials. Transparent materials provide expectations and reveals unique effects unlike others. As transparent materials, glass and acrylic have light and fresh impression from their transparency, and are frequently used in structuring neat space. Despite its good merits, glass is not able to satisfy designers desire in making various shape and structure. It has defect in manufacturing process because it requires professional, specialized studio. Compared to glass, acrylic has its merit in processing and stability, and also is very economical. Acrylic is easily used with woodworking tool. In addition, acrylic has unique texture. This study is on the attempt to apply acrylic to the furniture as artistic element.

• Journal of Dental Rehabilitation and Applied Science
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• v.26 no.2
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• pp.145-156
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• 2010

Loss of posterior support may cause overloading and excessive wear of remaining teeth. Moreover, the extrusion of antagonistic teeth leads to the destruction of the occlusal plane. The loss of vertical dimension of occlusion (VDO) also emerges clinically, which may bring the loss of esthetic appearance and function. These patients who suffer from the loss of posterior support, often require vigorous periodontal treatments (osteotomy, crown lengthening) and extensive oral rehabilitation. Sixty three years old female patient visited for the prosthetic treatment of the posterior edentulous area. She had no other systematic disease and parafuctional habits for prosthetic treatment. Intraoral and radiographic examinations were done. The evaluation of VDO and vertical dimension of rest position were evaluated for proper prosthetic procedures and diagnostic wax up was done. As a result of diagnosis, VDO was increased by 2 mm considering the loss of VDO and space for the prosthetic treatment. After the pretreatments, initial preparation of teeth and provisionalization were carried out. Six weeks later of provisionalizaion, final preparation and impression was performed. Using the duralay resin copings, jaw relation was registered. The master cast was mounted and definitive restoration was fabricated. After the evaluation of esthetic and function, pick up impression for clinical remounting was done. Lucia jig was made for new jaw relation and occlusal adjustment on the articulator. Definitive restoration was delivered and the patient was periodically recalled for additional occlusal adjustment. From this case, the satisfactory functional and esthetic results through full mouth rehabilitation with increase vertical dimension were achieved.

• 한국태양에너지학회:학술대회논문집
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• 2012.03a
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• pp.140-145
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• 2012

The purpose of this study is to understand the change of impression by comparing the uniformity lighting with the compound lighting. In previous study, we proposed a light controlling method to harmonize daylight from a window and artificial lights from a ceiling and obtained the results to support our method. We referred this method as the Adjusted Compound-Lighting Model (AC Model). The model claims that lighting in a room with a side-window are perceived as harmonious when the overall light distribution in the room is well approximated by a compound of lights from the window and the entire ceiling. The experiment is carried out with the scaled-models and mock-up spaces that were supposed to be an office space. One is lit by the uniform lighting and the other by the compound lighting in each experimental space. In order to present varying illuminance distributions, thetwo variables were used in this study. One was the ratio of thelight from the window and ceiling in the standard and evaluation box. The standard box was provided by the ratio of 20% to 40% from the window and 80% to 60% from the ceiling as two lighting ratio patterns [Wu20(=Cu80) and Wu40(=Cu60)]. And the evaluation box was provided by the light ratio of 0% to 40 from the window and 100% to 60% from the ceiling [Wcp0(=Ccp100), Wcp20(=Ccp80) and Wcp40(=Ccp60)]. The other variable was themean illuminance level in both boxes. Two level of mean illuminance (700lx and 300lx) were used in this experiment. Each lighting condition was established at equal horizontal mean illuminance level, held constant near 700lx or 300lx in both boxes. Both of them were similar in the shape of distribution when there were same ratios of lights from the window and the ceiling. Subjects were asked to evaluate the point of difference by semantic differential rating on their overall impression after comparing with two rooms. The results showed that the impressions of compound lighting were more positive score than that of uniformity lighting on the items of 'dim-bright', 'dislike-like', 'artificial-natural' and 'closed-open', and that there was no significant difference in impressions between two spaces on other items.

• Archives of design research
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• v.16 no.1
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• pp.63-72
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• 2003

The purpose of this study is to understand the character of concerned local area through using roadside space that is space for daily experience of citizen as target, extracting symbolic image reconsidering the historical and cultural character and clarifying the local identity on the basis of it. Through applying image of local symbolism and future-oriented roadside to street furniture, I tried to express local symbolism and through composing symbolic roadside of local that can be newly recognized as unique street, I tried to give a local symbolism and compose active roadside environment. Through providing basic material and actual design example, this paper tried to activate characterized local culture. As the method to approach design of symbolic roadside, the researcher divided local symbolic image into present local image and future-oriented image through selecting the roadside that historical element is lost and urbanization is achieved as target. The researcher characterized local roadside, using street furniture as symbolic tool of future-oriented roadside on the basis of symbolic image extracted from image evaluation testing. This paper has the meaning to suggest one direction for extracting symbolism when organizing distinguished roadside through applying symbolic image to roadside environmental facility, helping for of local resident's sense of place, his self-esteem and love for his hometown and public authority's establishing and promoting the policy concerned to the context of this paper.

• Archives of design research
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• v.18 no.2 s.60
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• pp.143-154
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• 2005

Typography in visual communication design is 'potential form' hidden within a space. Showing rhythm in typography is making 'aesthetic sense' in a graphic which has formative characteristics, the way of expression is very important. When the rhythm is recognized through visual stream, Rhythmic Sense is formed. The research will present a new form of the Visual Rhythmic Sense by analyzing typography works out positively. First of all, I researched works done by Fillippo Marinetti, Robert Massin, Wolfgang Weingart, and David Carson for their vigorous experimentalism in typography in forming visual rhythm. I used S.D. Scale method to analyze characteristics of visual image and VARIMAX for factor analysis reaching types of visual rhythm, which could be classified as following. (1) Synesthesia Rhythmic Sense (R-synesthesia) means that the senses are conveyed through 'visualization of auditory sense' and 'visualization of touch' (2) Simultaneous Rhythmic Sense (R-simultaneity) means that the time and space co-exist in one plane. (3) Connective Rhythmic Sense(R-connection) means that different factors (Within one plane) co-exist interacting with one another and creating a unified impression through such a process. (4) Artist Oriented Rhythmic Sense ($-artist) means that the artist interprets the content subjectively and expresses his/her impression, thereby, attracting a gaze of audience systematically and arbitrarily. (5) Reader Oriented Rhythmic Sense(R-reader) avoids the existing legibility formed through aggressive engagement of the reader.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.151-162
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• 2015

A theme park is a complex space, in which held is a performance & exhibition event created to make visitors feel fun and a deep impression through a certain theme. Recently, local governments are increasingly planning for theme parks with the aim of local economy revitalization. Accordingly, this paper set up a development model for a Korean culture theme park after deducting success factors for creating a successful theme park through the case of Korean culture theme park. To be concrete, this paper deducted the success factors through literature research and case research as follows: Setting of themes having identity and consistency; programs that can give fun and a deep impression; convenient support facilities reflecting customers' needs; differentiated marketing for progress in customer attraction power; location linked with cultural resources around a theme park and a space for communicating a message; privately-initiated project promotion and the main body of operation; target setting consequent on market segmentation, and demand forecast, etc. A theme park cannot be successfully operated to contribute to local economy revitalization until such success factors should be closely linked and harmonized with each other. In addition, in order for a theme park to make a continued growth, it's required that problems occurring at the operational stage should be endlessly improved, and contents strengthening should be continuously done in line with circumstances of the times and viewers' eye level.

• Archives of design research
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• v.19 no.4 s.66
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• pp.205-208
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• 2006

This work is a interactive digital art work which used the multiplex of jitter. It is an work which used a cross concept of two images. This work shows two kinds of images. One is on the wall through the gap of fluorescent lamp screen, and the other is on the fluorescent lamp screen. Two images are intercepted and comes out to the length as the multiplex of the jitter. The appearance of the spectator be recognized on the fluorescent lamp screen or on the wall, by two branch image which comes out intersecting of a length with multiplex function of the jitter. Two branch features of the image which it produces and the spectator which is input at real-time is equally divided, or in impression of juxtaposition goes in the spectator. It expresses the duplicity of the human being, with physical existence space divides the time space which we feel and there is a governing grammar which is different with each other and to express the thing it becomes. It used the image of the screen which it produces with the fluorescent lamp and cross concept.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.405-410
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• 2008

There is always a rhythm in our language and speech. As soon as we speech out, even just simple words and voice we make are edited as various emotions and information. Through this process we succeed or fail in our communication, and it becomes a fun communication or a monotonous delivery. Even with the same music, impression of the play can be different according to each musician' s emotion and their understanding. We 'play' our language in the same way as that. However, I think, people are used to the variety, which is, in fact, the variation of a set format covered with hollow variety. People might have been living loosing or limiting their own creative way to express themselves by that hollow variety. SPACIAL POEM started from this point. This is a new type of 'real-time visual interaction' expressing our own creative narrative as real-time visual by playing a musical instrument which is an emotional human behavior. Producing many kinds of sound by playing musical instruments is the same behavior with which we express our emotions through. There are sensors on each hole on the surface of the musical instrument. When you play it, sensors recognize that you have covered the holes. All sensors are connected to a keyboard, which means your playing behavior becomes a typing action on the keyboard. And I programmed the visual of your words to spread out in a virtual 3D space when you play the musical instrument. The behavior when you blow the instrument, to make sounds, changes into the energy that makes you walk ahead continuously in a virtual space. I used a microphone sensor for this. After all by playing musical instrument, we get back the emotion we forgot so far, and my voice is expressed with my own visual language in virtual space.

• Journal of the Korea Convergence Society
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• v.11 no.12
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• pp.125-130
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• 2020

The Korean maritime industry is growing rapidly as income levels rise. In particular, the domestic yacht market is generating steady market demand, which is a good opportunity for users who want to enjoy leisure. Among them, the experience-type yacht is operated smoothly around Suyeong Bay in Busan. In this study, a survey of experienced yacht users conducted an analysis focusing on color as much as the interior structure. The colors you experience when you stay in a specific space for a short time have a significant impact on the user's satisfaction and sensibility. Often, systematic research into space is often focused on physical distribution. However, color leaves a strong impression on short experiences as much information as it accepts through the optic nerve. A survey of yacht passengers was conducted to derive appropriate adjectives, and the results were obtained after analyzing them by means of I.R.I monochrome and image scale. Afterwards, it is expected that this research will be used as a theoretical basic data that can be used to carry out the production, repair, and repair of hands-on yachts that are developed on their own.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.16-32
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• 2016

This study examines music visualization characteristics appearing in Giorgio Armani's S/S 2000 Collection and Genny's F/W 2000 Collection, which elicited and reinterpreted the characteristics through an analysis of Kandinsky's paintings. Study results are as follows. First, music visualization characteristics were extracted through an analysis of Kandinsky's works to examine music visualization that appears in contemporary fashion. Further analysis of Kandinsky's works were done in regards to music visualization (Impression, Improvisation, and Composition), and music visualization characteristics were categorized into 'spatial element', 'mobility', and 'overlap'. Second, the analysis of contemporary fashion with a spatial component showed that space was often clothed through color contrasts that highlighted concise and playful effects. Emphasis on line and three-dimensional effects were shown by overlapping lines and costume pleats with exposure expressed by semiotic forms and fabric character4istics. Third, the analysis of clothes that express mobility shows that they commonly express mobility through free color arrangements and a shading of colors with playfulness. The effects of emphasis, uniformity, and exposure were shown through the gloss and transformation of fabric that emphasized fabric characteristics; in addition, the effect of simplicity, three-dimensionality, and uniformity were expressed by adopting the forms of geometric shapes. Fourth, the analysis of clothes that manifest the overlap showed a predominant overlapping of colors and fabric. The esthetic effects of playfulness and exposure were emphasized through colors, shapes, and lines.