• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.9
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• pp.6360-6367
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• 2015

The location selection of the element that should guarantee easy visual perception, like the landmark, is the a topic that appears much in the design process. Recently, a graph analysis technique using computers has been applied in order to evaluate the visibility of the visual element, but the analytic frame is flat and the setting of the visual pont and the matrix are fixed so there were great limitations in obtaining the results of the practical analysis. Thus, this study presented Nondirectional Multi-Dimensional Calculation (MDVC-N), an analytic methodology available for the analysis of the dynamic visual point in the 3D environment. It thus attempted to establish the analytic application using the 3D computer graphics technology and designed a script structure to set the visual point and the matrix. In addition to that, this study tried to verify the analytic methodology by applying the complex land as an example model, where buildings in various heights of terrains with a high-differences are located, verifying the same analytic methodology. It thus tried to identify the visual characteristics of each alternative location. The following results were gained from the study. 1) The visibility can be measured quantitatively trough the application of the 6-alternatives. 2) Using the 3dimensional graph, intuitive analysis was possible. 3) It attempted to improve the analytic applicability by calculating the results corrected as a variable behavior from the local integration variable of the space syntax.

• Journal of the Korea Society of Computer and Information
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• v.16 no.3
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• pp.109-119
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• 2011

The virtual reality (VR) technology has been used as the application of architectural presentation or simulation tool in the field of industry. The high immersion and intuitive visual information are the great merits of design evaluation or environmental simulation when we are using the virtual environments. But the distortion of distance perception in VR is still a big problem when the accuracy of distance presentation is strictly required. For example, distance estimation is especially important when the virtual environments are applied to the presentational tool for evaluation the space design or planning in the field of architecture. If there are some perception error between the built space in real and represented space in virtual, the accurate design evaluation or modification of design is hard to be carried out during the design development stage. In this paper, we have carried out some experiments about distance estimation in the immersive virtual environments to verify the factors and their influence. We made a hypothesis that the lack of the information for the user in VR causes the different distance estimation from the real world because users are usually comfortable with moving fast and long distance in VR environments compared with moving slow and short distance in real space. So, we carried out basic experiment to prove our hypothesis that the lack of information makes subjects estimate the distance of walking in VR shorter compared with the same distance in real. Also, among the factors that probably affect the distance estimation in VR, we have verified the influence of the image resolution. The influence of resolution degradation of image on the distance estimation was verified with the condition of static and dynamic images. The results showed that the resolution has deep relation with the distance estimation. For example, the subject underestimated the distance at the lower resolution condition. We also found the methods of the making the lower resolution image could affect on the visual perception of subjects.

• Korean Institute of Interior Design Journal
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• v.23 no.4
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• pp.63-71
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• 2014

Anamorphosis is highly favored in modern days as the atmosphere of pursuing unusual manners is growing while transformation and distortion of images are freely available. This research is to understand the affect of these distorted images on space designs and the close connection between anamorphosis and visual perceptions, and to identify the new perceptual phenomenon created through it, and the methods of expressing those. Four expressional methods were defined through the process of studying Anamorphosis based on its definition by Niceron, examining artworks such as paintings and photographs, and case-studying example spaces of visual perception experiments. Expressing anamorphosis through visual perceptions are broadly categorized to directional, dimensional, flatness, and optical. The analysis of 10 case projects suggests that the experimental spaces offer joys of finding and interpreting metaphorical forms and meanings caused by the four characteristic categories above. Also, they artificially show the boundaries between reality and virtual spaces in 2-dimensional or 3-dimensional spaces, and form hyper-boundaries, new experience, and an internal mechanism that is vague and chaotic. Therefore, this research concludes that anamorphosis which is a distorted perspective, is not only a simple measure to overcome perspectival errors, but is an existence suitable to the current era, that will extend its potential and value in spatial design.

• Journal of the Korean Institute of Rural Architecture
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• v.7 no.3
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• pp.109-118
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• 2005

This study is to find out the plan intention of the central space through visual analysis on the east and west stone pagodas relative to a main Buddhist hall, and the relation between the stone pagodas in Hwaeomsa.(華嚴寺) According to the analysis of it in this study, we make conclusions as follows; 1) The east and west stone pagodas was arranged with overlapping each Daeungjeon(大雄殿) and Gakhwangjeon(覺皇殿) for the view of a specific viewpoint, on the right of Bojeru(普濟樓). 2) The centering around a compositive axis which connect Gakhwangjeon, stone lantern, and stairs, the axis of two stone pagodas is not coincident. 3) Courtyard in Hwaeomsa is separated by high a stone wall for reinforcement, but it is integrated into visual perception owing to height of two stone pagodas connected visual line to Daeungjeon and Gakhwangjeon.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.53-61
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• 2017

Cityschumers experience the urban with the visual perception while walking an average speed of 4km per hour. At this time, recognition of the color field accounts for more than 70%. Therefore, in this paper the environmental color of urban street is examined by dividing the pedestrian visual field area. In the urban street, the area of the visual field area of the pedestrian is divided into Ground Plane, Roadside, Canopy and Building Wall. In addition, we observe and color survey the environmental color of Exhibition Road, which is the northern side space of South Kensington in London, which adopted the world's first shared space. The color of the visual filed area was dominated as YR, GY, Y, PB. The Ground Pland was dominated by the YR. The reason for this is that the color of the floor has changed due to the shadows of surrounding architecture and facilities. Roadside was dominated in various ways such as GY, BG, PB, B and P. Canopy was mainly composed of PB, GY, etc. It was found that the material color of the lower part of the architecture was reflected. The architecture wall was affected by the reflectance and absorption rate of the transparent material. The first image that comes to mind when thinking about the urban is the street where pedestrians walk, feel and enjoy themselves. Therefore, it is suggested that various policy frameworks for managing and managing urban planning professionals may be different from the perceptions of pedestrians active in mega cities.

• Journal of Science of Art and Design
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• v.13 no.1
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• pp.23-37
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• 2008

Recently, there are getting popular form generation-related design methodologies and scientific discourses about the nature of nature in the environmental design. The necessity of visual perception and cognitive research is growing in this respect. Accordingly, this study was designed to discuss environmental design and cognition in the ecological perspective. This study was intended to study the structural factors of cognitive ecological space. This study focused on the systematic principle of new environmental design based on cognitive ecological approaches and what kinds of design effects this design principle has on the human being in the long nm. The results are as follows. First, the results suggests that fractal pattern should be an alternative to design cognitive ecological space and new paradigm of architecture is based on the nature of nature and human sensibility. Accordingly, they have proposed that fractal design is more empirical and environment-friendly than rational linear design. Second, this study classified the variables of cognitive ecological space into nature, tradition, preference judgement, aesthetic value, and schema. Accordingly, such features as symbol, tradition, and nature restricted by modernistic ideology should be added to new paradigm-based environmental design. Third, accordingly, this study stresses that cognitive ecological environmental design doesn't include buildings of modernism and deconstruction and is based on new science of complexity.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.70-77
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• 2013

This study has analysed the composition elements in a cafe space where visual transfer-elements are filled and the perceptual characteristics of facade designs with the purpose of drawing any important elements to advertisement and their related items for uniqueness of designs. For the analysis of the perception process shown in the consecutive situations of observing and visiting cafes, the cafe facade was grouped and stereotyped for the analysis of perceptual characteristics and significant composition elements for better designing of cafes through survey with representative facades as subjects. The conclusions from this study are the followings. First, for the uniqueness specific to cafes to be integrated into facade, memory was chosen first as the most significant advertisement factor followed by interest as with male and attention as with female. The memory has much to do with furniture and finishing material of Clause (4), Chapter 4.1 and the types having effects on perception of Clause (1) and the atmosphere having effect on that of Clause (2) were found to be major factors to attention and interest. Second, it was found out that women preferred horizontally stable partition and men clearly divided facades. The factor of shape was observed first among the constituents of facade followed by color. There was no difference with 'shape' between men and women and color was found to be a space constituent having a lot of effects on women. Third, the memory of experience from visiting a cafe was very likely to offer the motivation of visiting it again, on which furniture had the most effect followed by finishing material and color. Such elevation elements as facade and logo were found not to have effect on the memory or the re-visit. Any intention of visiting again seemed to be influenced by such comprehensive images as atmosphere rather than by any concrete facade, furniture, or appliance. From the above viewpoint, facade design should have any uniqueness or impressive feature as well as the effect of making passers-by drop in and attracting them into the shop. The analysis of attributes of facade constituents revealed that the abstract images in addition to the configuration of facade had much to do with interest or behavior.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.177-184
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• 2010

These days, as digital producing technique has been developed, 3D imaging technique is used in high-tech computer and T.V. Also study for 3D producing technique is actively in progress. Moreover, as James Cameron's movie, 'Avatar' released in 2009 was a box office hit, the issue about 3D image came to the fore again. At this point, I decided to study the effect of the visual depth caused by the color correction during the post-production stage. The purpose of this study is to offer information about processing effective images through data about the effect of the visual depth that applies the color correction during the post-production stage. Basically, I supposed that color and contract would have effects on depth of 3D image. As a result, I could find out the changes of visual depth, space perception and sense of depth throughout the experiment. Applying this result,, I produced the 15 minutes of 3D advertisement movie and I found out that the color correction during the post-production stage was very effective for 3D depth. The left image and the right image by beam splitter based rig and parallel rig were used for this study. Also I adjusted the strong contrast by the color correction during the post-production stage after correcting convergence and visual depth during editing. As a result, I could produce images which had strong sense of space and sense of depth.

• Journal of Korea Multimedia Society
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• v.23 no.2
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• pp.376-382
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• 2020

In the 1970s and 1980s, space installations in films became a new approach to film research. Many film directors and theoretical scholars believe that the space setting in films, other than textual stories, is an important core of film narrative research. Early film scholars have proposed that the film space with sensory narrative mode as the core motive force can promote people's in-depth understanding of the film content. Therefore, many researchers have tried to emphasize the importance of space in films through Hitchcock's films, but have not analyzed the elements and techniques of film space performance in detail. Reviewing the Hitchcock's classic crime film, through the space set in the traditional film, we can discover the movie techniques and concepts related to space. Therefore, this study takes Hitchcock's classic crime film as an example, and through analysis of film space expression techniques, attempts to propose factors for film space creation and bring new spatial perception effects to the audience.