• 한국주거학회:학술대회논문집
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• 한국주거학회 2006년도 추계학술발표대회 논문집
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• pp.86-91
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• 2006

This study is aimed to provide a guide for PC use space in apartment. To achieve this, a design about PC use space which was considered adequate location, area, form was suggested. As methods of the study, survey research method and case study. The survey was taken by five hundred-eighty-nine people who used PCs in apartment from May 2005 to July 2005 in Je-Ju province for an analysis of data. The results of the survey were showed PC use space situation and furnitures layout patterns. The case was classified by unit plans of size, and it showed design example of PC use space. In case of the 20s pyeong(about 3.30 square meters) type, PC use space was located in dead-space in the residence with minimum scale, because of 20s pyeong types are smaller than the other types. In case of the 30s pyeong type, PC use space which was divided with a partition panel was located in the livingroom expanding the room space to the balcony. In case of the 40s pyeong type, PC use space was located in the room of sons or daughters which was arranged with other furniture. The adequate area of PC use space is 1.4$^{\sim}$2.2 square meters, and it should take into account furniture size and human active sphere. And PC use space of form should consider traffic line, personal space and privacy. Besides it is required of ergonomic design in chair, table in its scale. And it is necessary development of systematic furniture for PC use space.

• 대한수학회보
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• 제26권2호
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• pp.159-164
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• 1989

Let M be a hypersurface of dimension n(.geq.2) in an (n+1)-dimensional real space form over bar M(c) with constant curvature c and H the second fundamental tensor of M. M is said to be birecurrent if here exists a covariant tensor field .alpha. of order 2 such that .del.$^{2}$H=H .alpha., where .del. is the connection of M. Also, M is said to be recurrent if there exists a 1-form .betha. such that .del.H=H .betha.. Matsuyama [2] recently proved that a recurrent hypersurface M in a real space form is locally symmetric and a complete irreducible birecurrent hypersurface M in a real space form is recurrent. The main purpose of this paper is to characterize the birecurrent or recurrent hypersurface M of a Riemannian manifold with constant curvature c and to prove that M is classified as a cylinder, $M^{n}$ (c) or ( $c_{1}$)* $M^{n-r}$ ( $c_{2}$) where 1/ $c_{1}$+1/ $c_{2}$=1/c.

• 한국실내디자인학회논문집
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• 제39호
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• pp.20-27
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• 2003

The purpose of this study is to provide a practical guide for selecting architectural artwork and analyze relationship between artwork and interior space & facade. The problems with many outdoor artwork did not make the characteristics of the specific environment and did not form a big flow in the urban contextualism. Choosing the artwork, architectural environment for artwork is very much part of the designers' task. When artwork is to be specifically acquired for a particular projects, designer and client must work together to make choices and plan placement. The data are collected through evaluation surveys of college students and graduate students majoring in interior architecture & design, and analyzed by using SPSS-WIN program to find the major characterized factors. It is concluded that architectural artwork should be constituted with nine major factors of interior space - theme/scale, situation/contemporay accord, finished materials harmony, line/two-three dimensional form, proportion/rhythm, sequence, natural/artificial form, abstract/reality expression, originality - and eight major factors of facade - situation, abstract/reality expression, finished materials harmony, theme/sequence, natural/artificial form, proportion/rhythm, static/dynamic expression, originality/. contemporay accord.

• Kyungpook Mathematical Journal
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• 제62권1호
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• pp.133-166
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• 2022

Let M be a semi-invariant submanifold with almost contact metric structure (𝜙, 𝜉, 𝜂, g) of codimension 3 in a complex space form M_n+1(c) for c ≠ 0. We denote by S and R_𝜉 be the Ricci tensor of M and the structure Jacobi operator in the direction of the structure vector 𝜉, respectively. Suppose that the third fundamental form t satisfies dt(X, Y) = 2𝜃g(𝜙X, Y) for a certain scalar 𝜃 ≠ 2c and any vector fields X and Y on M. In this paper, we prove that if it satisfies R_𝜉𝜙 = 𝜙R_𝜉 and at the same time S𝜉 = g(S𝜉, 𝜉)𝜉, then M is a real hypersurface in M_n(c) (⊂ M_n+1(c)) provided that $\bar{r}-2(n-1)c{\leq}0$, where $\bar{r}$ denotes the scalar curvature of M.

• 한국실내디자인학회논문집
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• 제22호
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• pp.61-68
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• 2000

This paper illustrates what the reality of architectural concepts, materials, notions and phenomena are as central questions of contemporay space design. These issues form the goal of modern space design which should attain to the reality of an era when non-real values prevail. Despite the trends of an everchanging and ephemeral dominating quality in architecture for the last ten years, architects still aim to contruct everlasting space on earth. The trends of dematerialization in today's space design can be substantiated in spatial-temporal dimensions as follows. First of all, ephemeral architecture with concepts of hypothetical temporality, everchanging architecture in fluidity, and the transparent architecture with the floating and overlapping image can be analyzed in the dimension of 'time'. In terms of 'space', void quality for the expression of emptiness, neutral space by the simplified and summarized forms, expanded space through ambiguous boundaries and spatial repetition can becharacterized and also be intended strategies for lightness, state of flux, ambiguity, paradox etc., lead modern space design along that path. As this point, we need to pay attention to the so-called 'hypersurface' concept proposed by Stephen Perella. Hypersurface is a sort of cladding sheathing existence independent from the primary structure. With it, the integration between form and image can be achieved. Sometimes hypersurface can be a strategical screen for image projection, a cognitive receptor for surroundings as well as a catalyst for information and communication systems. When the situation dematerializes more and more as the years go on, the concept of hypersurface can be an inclusive method between the phenomenological form in architecture and its self recipient image. Permissive atmospheres created between them in contemporary space design and new paradigms emerged with digital technology will further reinforce the human space's dynamism.

• 복식문화연구
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• 제19권4호
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• pp.805-819
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• 2011

In contemporary society, heterotopia is the law dominates thoughts and is the concept reconstituted spaces calls order in chaos. And that is the place which refuses the paradoxical and social custom and sometimes poses a danger and rise in rebel. The purpose of this study is to study how forms of clothing fluid form images are expressed in modern fashion develop body around in the spatial relationship between the body and its environment. The study method consider changed characterastics of fluid space through the heterotopia thinking system of Foucault Michel. Based on this method, the heterotopia space that appeared in the plastic arts in aspects of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Fluid Form were expressed in any formative characteristics were considered. The results of this study are as follows. Fluidity is the transformed interaction. It expanded external representation of organic body structure and reconstructed flexible forms of dynamic structures continuously. Transformation is the new space structure. It constructed invisible transformation and developed convertible dress space by combining a variety of functional overlap and fold. Deconstruction was expressed structural forms, expanding the existing forms in the open structure which have ambiguous boundaries.

• 한국가구학회지
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• 제22권1호
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• pp.1-12
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• 2011

Recently, the studio which is urban housing form is rapidly growing up by new residential space according to increasing 1~2 person households form because of Modern members who have changing patterns of life and diversification of social values. The resident of the studio who lives or uses the space for a work such as students, office worker and soho-jok has various characters by a society nature changes and a regional peculiarity. The studio form and function is getting change according to variety trend changes and their life styles. The role and use of residential space also have variety such as the resident who lives in the studio. This study is to find the space utilization for them and reasonable housing solution in that structure, furniture and Wall Storage System of existing studio which is based on the common life patterns. The study's purpose is to propose the furniture design of changeable Wall Storage System according to the analysis.

• 한국실내디자인학회논문집
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• 제19호
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• pp.98-104
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• 1999

The literal Meaning of Art Nouveau is 'New Art'. It means that Art Nouveau was conceived momentous sense of transition in the close of 19C and found the way to overcome that situatiov. So, This Study aims to discover the Meaning and Characteristic of Art Nouveau through it's Linear form. Through this study, linear form of Art Nouveau served not merely to decorate building, but to liberate space. With linear forms, Art Nouveau artists synthesize all exterior and interior elements - from doors and windows to carpets and furnishings - by one's emotional rhythm and occasionally change the feel of space that adorned with another style. First, of all, linear form is a method for 'Art for Art sake', and the possibility of linear form does not disappear.

• 대한수학회논문집
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• 제37권1호
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• pp.229-257
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• 2022

Let M be a semi-invariant submanifold of codimension 3 with almost contact metric structure (𝜙, 𝜉, 𝜂, g) in a complex space form M_n+1(c), c ≠ 0. We denote by A and R_𝜉 the shape operator in the direction of distinguished normal vector field and the structure Jacobi operator with respect to the structure vector 𝜉, respectively. Suppose that the third fundamental form t satisfies dt(X, Y) = 2𝜃g(𝜙X, Y) for a scalar 𝜃(< 2c) and any vector fields X and Y on M. In this paper, we prove that if it satisfies R_𝜉A = AR_𝜉 and at the same time ∇_𝜉R_𝜉 = 0 on M, then M is a Hopf hypersurface of type (A) provided that the scalar curvature s of M holds s - 2(n - 1)c ≤ 0.

• 미술이론과 현장
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• 제9호
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.