• Journal of Korean Society for Quality Management
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• v.42 no.2
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• pp.131-143
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• 2014

Purpose: This paper discusses the intrinsic assumption of one-dimensional relationship between the upper and lower levels in AHP(Analytic Hierarchy Process) for the Preliminary Feasibility Study of National R&D Program. This assumptions has not been questioned in academia and industry so far. Methods: This discussion is induced by understanding the Theory of Attractive Quality (Kano et al. 1984) and explains the limitation of AHP in the preliminary feasibility study of national R&D program. Results: In this paper, we propose a new questioning method based on two dimensional perspective, which is named as 2D-AHP (two dimensional AHP), to overcome the limitation. The main idea stems from the observation that the relationship between the upper and lower levels in AHP can vary depending on the subject of R&D. Conclusion: The two dimensional perspective pointed out in this paper should be more deeply studied in the field of MCDM(multi-criteria decision making) since it can be applied to the more general problems in human decision making.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Journal of the Korean Institute of Electrical and Electronic Material Engineers
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• v.35 no.1
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• pp.1-10
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• 2022

Two-dimensional materials have shown a great promise for the next-generation electronic materials due to their unique optical, physical, and chemical properties that are distinct from their bulk counterparts. Their atomic-level thickness, the feature for flexible tenability, and exposed huge surface allow various approaches for high-performance nanoscale devices. Especially, this review highlights the recent progress on two-dimensional dielectric nanosheets, which are obtained by cheap and massproducible solution-based exfoliation process, accompanied by the preparation methods, various deposition methods, and the characteristics of devices using a dielectric nanosheet thin films. We also present a perspective on the advantages offered by this two-dimensional dielectric nanosheets for the upcoming future nanoelectonics.

• Journal of Digital Convergence
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• v.13 no.2
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• pp.159-175
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• 2015

The two-dimensional QR code has advantages such as directional nature, enough data storage capacity, ability of error correction, and ability of data restoration. There are two major issues like speed and correctiveness of recognition in the two-dimensional QR code. Therefore, this paper proposes a morphology-based algorithm of detecting the interest region of a barcode. Our research contents can be summarized as follows. First, the interest region of a barcode image was detected by close operations in morphology. Second, after that, the boundary of the barcode are detected by intersecting four cross line outside in a code. Three, the projected image is then rectified into a two-dimensional barcode in a square shape by the reverse-perspective transform. In result, it shows that our detection and recognition rates for the barcode image is also 97.20% and 94.80%, respectively and that outperforms than previous methods in various illumination and distorted image environments.

• Korean Journal of Cognitive Science
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• v.17 no.4
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• pp.287-301
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• 2006

Two experiments were performed to investigate effects of background depth information on the judgment of two-dimensional shapes, using the Posner et al.'s(1969) physical match task. In both experiments, the focus was on whether the background depth information affects the decisions of physical shape sameness of two letters or figures presented successively. In Experiment 1, artificially constructed rues of linear perspective and texture gradient were used, whereas cues contained in a real road situation were used in Experiment 2. The results of both experiments showed that the depth cues affect the perception of two-dimensional shapes. That is, when two stimuli of the same physical shape were likely to be perceived differently due to the given depth cues, response accuracies('yet' in this case) decreased and reaction tines of physical match increased. And when two stimuli of the different physical shape were likely to be perceived the same due to the given depth cues, response accuracies('no' in this case) decreased and reaction times of physical match increased likewise. These results wert discussed in terms of some conceptual methodological problems of the previous studies on the shape constancy and the directions of future research.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.527-548
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• 2019

For Deleuze, the frame is a closed system with numerous subsets of information. the frame can be defined by mathematics and physics. it is a geometric system of equilibrium and harmony with variables or coordinates. like paintings, Linear perspective represents a three-dimensional depth in a two-dimensional plane through vanishing points, horizontal lines in the frame. Linear perspective makes it possible to assume the infinity towards the vanishing point and the infinity towards the outside of the frame, the opposite of the vanishing point. Not only figures and lines in the drawing paper, but also the space between the figures and lines in the drawing paper was recognized. that is space, the 3rd dimension. with the centripetal force and centrifugal force of the frame, frame follow the physical rules of power and movement. de framing is against the dominant linear perspective and central tendency of the frame. The film contains four-dimensional time while reproducing three-dimensional space in two dimensions. It may be that the outside of the frame, or outside the field of view, contains thought, the fifth dimension.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• The Research Journal of the Costume Culture
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• v.5 no.1
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• pp.151-164
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• 1997

This study pursues the problems of plan photogrammetry which is widely used in somatotyping at present, and find out a method which can improve accuracy of measurement on the basis of principles and mechanisms of photography-the basic foundation of the photographic analysis methods. As a result, this study proposes a new method which is based on the reference point method and perspective coordinate system. And the test measurement was operated to compare the measurement accuracy of the proposed method and the method based on reference grid screen method and perpendicular coordinate system which is commonly used at present. The result of this test measurement showed that the proposed method has higher accuracy. Two reasons can be pointed out for the improvement of measuring accuracy. The first reason is that the proposed perspective coordinate system reduces the perspective distortion of photography. And second reason is that measuring points can be closely placed to the scale and coordinate reference plan of measurement by the proposed reference point method which make possible to place measuring object (or person) at the center of scale and coordinate reference plan by utilizing reference points of measurement in the three dimensional space not on screen.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.21 no.11
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• pp.1862-1870
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• 1997

A fast and precise technique to measure 3-dimensional coordinates of an object is proposed. It is essential to take the 3-dimensional measurements of the object in design and inspection. Using this developed system a surface model of a complex shape can be constructed. 3-dimensional world coordinates are projected onto a camera plane by the perspective transformation, which plays an important role in this measurement system. According to the shape of the object two measuring methods are proposed. One is rotation of an object and the other is translation of measuring unit. Measuring speed depending on image processing time is obtained as 200 points per second. Measurement resolution i sexperimented by two parameters among others; the angle between the laser beam plane and the camera, and the distance between the camera and the object. As a result of these experiments, it was found that measurement resolution ranges from 0.3mm to 1.0mm. This constructed surface model could be used in manufacturing tools such as rapid prototyping machine.