• FLOWER RESEARCH JOURNAL
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• v.16 no.1
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• pp.1-6
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• 2008

This study investigated the changes of indoor thermal environment by Ardisia species planted in indoor space. Three Ardisia species (Ardisia japonica, Ardisia crenata and Ardisia pusilla) were used in this study and differences of temperature and relative humidity were ascertained in an empty chamber with and without plants. In high temperatures over $24^{\circ}C$, Ardisia species cooled down chamber more as compared to the control without plants, but there were no significant differences among Ardisia species. Ardisia crenata showed high relative humidity of $57.3{\pm}3.1%$ during most of the day time and $60.8{\pm}2.5%$ at low temperatures. However, Ardisia japonica and Ardisia pusilla showed $54.7{\pm}1.18%$ and $52.5{\pm}2.4%$, respectively, on the average, and they maintained comfortable relative humidity during most of the day time. When the setting temperature was decreased from 28 to $26^{\circ}C$, Ardisia species showed 7.5~13.6 times greater cooling efficiency as compared to the control without plants, and at low temperatures the chamber without plants showed higher themal energy than the chamber with plants. Ardisia species were effective on cooling down the temperature at high temperatures and they showed a tendency to maintain proper temperatures at low temperatures.

• Journal of the Korea Computer Graphics Society
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• v.24 no.1
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• pp.9-16
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• 2018

In this paper, we introduce a visualization framework for cell image data obtained from optical diffraction tomography (ODT), including a method for representing cell morphology in 3D virtual environment and a color mapping protocol. Unlike commonly known volume data sets, such as CT images of human organ or industrial machinery, that have solid structural information, the cell image data have rather vague information with much morphological variations on the boundaries. Therefore, it is difficult to come up with consistent representation of cell structure for visualization results. To obtain desired visual representation of cellular structures, we propose an interactive visualization technique for the ODT data. In visualization of 3D shape of the cell, we adopt a volume rendering technique which is generally applied to volume data visualization and improve the quality of volume rendering result by using empty space jittering method. Furthermore, we provide a layer-based independent rendering method for multiple transfer functions to represent two or more cellular structures in unified render window. In the experiment, we examined effectiveness of proposed method by visualizing various type of the cell obtained from the microscope which can capture ODT image and fluorescence image together.

• Journal of fish pathology
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• v.20 no.1
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• pp.83-91
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• 2007

In order to differentiate the gastric tubular dilatation of olive flounder, Paralichthys olivaceus, from an atrophic change, a series of histological studies was carried out for normal gastric gland, naturally occurring and histamine-induced dilated glandular tubules. Normal glandular tubules were histologically quite similar to those already reported from other fish species. Naturally occurring, dilated gastric glandular tubules had the epithelial characteristics suffering from atrophy under light microscope, which was also the case in the histamine-induced gastric gland. But on semi-thin sections the area corresponding to the empty space of dilated lumina were actually shadowed with relatively bright area. Under transmission electron microscope this brightly shadowed area turned out to be an area tightly packed with abundant, slender cytoplasmic processes in both cases. These results strongly suggested that the dilative gastric glandular tubules under light microscope might be a morphological change indicating increased glandular activity rather than a pathologic atrophic change.

• Composites Research
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• v.32 no.6
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• pp.395-402
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• 2019

The RFI process is an OoA process that fiber mats and resin films are laminated and cured in a vacuum bag. In case that resin film is insufficient to fill empty space in fibers, it makes void defect in composites and this void decrease mechanical properties of the composites. For this reason, non-destructive testing is usually used to evaluate void of manufactured composites. So, in this study, a manufacturing method of standard void specimens, which are able to be used as references in non-destructive testing, was proposed by controlling resin film thickness in the RFI process. Also, a fiber compaction test was proposed as a method to set the resin film thicknesses depending on target voids of manufacturing panels. The target void panels of 0%, 2%, and 4% were made by the proposed methods, and signal attenuation depending on void was measured by non-destructive testing and image analysis. In addition, voids of specimens for tensile, in-plane, short beam and compressive tests were estimated by signal attenuation, and mechanical properties were evaluated depending on the voids.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.41-51
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• 2015

The purpose of the Follies that were constructed for the Gwangju-Biennale were for urban regeneration, to activate the empty old-town areas, and to strengthen the tradition and sense of place of the city. However, the ten Follies constructed around the wall of the old castle reveal many problems including that of leaving Follies alone instead of actively using them, damage to shop-keepers nearby, and pedestrian inconvenience, which is different from the original purposes. This study is meant to help understand the source of the negative phenomena, and to offer plans that will be conductive to the role of urban regeneration through activating the Follies and the spaces around them. As results of the investigation, there was no context giving uniformity among the various Follies. Also, the study showed that the insufficience of designers' understanding of the circumference near the Follies and lack of a consensus between the citizens and designers in the process of making the Follies. The crucial solution for solving these problems, and bringing to life the original purpose of creating the Follies was derived as applying "human activity" to the Follies. This study suggested 'street performance' as an effective device for application to human activity. While a Folly has no fixed function, the development of space program categories based on the applied characteristics of each Folly, and the simulation thereof showed effective potential for attracting people and activating those stagnated spaces. Recently, Gwangju city depicted the second Follies in applications such as reading roon, toilet, and movable food cart, which have clear purpose and different characteristics from the first ones. However, the first Follies will not be moved or demolished. As they are located around the National Asia Culture Center, some of them are supposed to be used to view the center. Consequently, a counterplan for the continuous and efficient use of those Follies is needed. Gwangju has a plan for the installation of 100 Follies throughout the city and it is expected that this study will be a meaningful guide line for improved Follies in the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.69-80
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• 2012

The purpose of this paper was to study the issues related to converting the graveyards within forests into spaces intended for tree burials by means of planting, given the situation that the graveyards have encroached on land and damaged the environment. For the reason, a field survey was performed to determine the width, length, and distance to the nearest tree of 205 graveyards in the capital area. Through this, it was determined that the domestic lands damaged by graveyards amounted to $862km^2$, including the areas that were deforested to manage the graves. This only confirms that land encroachment by graveyards is a serious issue. The methods for making tree burial sites were examined from the perspective of how to meet public demands given the graveyard's spatial distinctiveness. As a result, this study suggested different methods to establish tree burial sites according to the degree of transformation and the term of its formation. This study also classified the graveyards into three types, and identified the planting methods that harmonized the safe growth of trees and the scenic beauty of memorial places based on the standard. This is in order to plant trees that are shade-tolerant and suitable to the forest line, along with which other tree line was and also, to plant aesthetic trees around the empty space. Through applying the developed methods, this study established and monitored two exemplary sites in Yongin and Boryeng. Aesthetic trees were planted in Yongin site which was located in an open area, aod the shade-tolerant trees were planted in Boryeong, which was located in a forest area. As a result, the image of a garden appeared at Yongin site and the image of a tree colony harmonized with the near forest emerged at Boryeong site. Therefore, it is confirmed that the method of planting according to the distribution status of neighboring trees was effective. As a result of monitoring, mulching wood chips were suitable for sites that were small or easy to approach. This is because the weeds were controlled in Yongin site by mulching. Furthermore, by monitoring the growth of 11 species of vegetation, this study confirmed that low and cover-type vegetations were suitable for tree burial sites. In Boryeong site, the wild cherry trees, which were planted as adult trees, all died, and the tilling of snake's beard, which were planted as cover vegetation, was slow. Therefore, this study found that seedlings were more suitable to plant in forest graveyards than adult trees, which were large and difficult to approach, and it was effective to use the remaining lawn and form a low vegetation after the crown of trees had expanded to such places.