• Journal of the Korea Fashion and Costume Design Association
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• 제17권2호
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• pp.93-109
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• 2015

Advent of diverse media and advancement in digital technology significantly affected our perception of time and space. By utilizing digital media actively, fashion illustration has come to go beyond the limitation on conventional perspective expression. This study aims to examine the phenomenon of deconstruction of perspective in fashion illustration, and to analyze a variety of space expressions and effects of visual expression in fashion illustration. By way of literature research for the study, theoretical data are reviewed about basic concepts of conventional perspective and the characteristics and aesthetic concept of perspective deconstruction expression in visual art. By way of an empirical study, fashion illustrations that represent the deconstruction of perspective are classified and analyzed characteristics and image effects of such expressions. Deconstruction of perspective in fashion illustration find in expression of spaces by means of multi-space, multi-layer space, reverse perspective, perspective through the exaggeration, multi-perspective space, and panoramic visual condition. Fashion illustration expresses visual confusion or fantasy rather than creating realistic spaces that have utilized reasonable perspective. Fashion illustration is moving toward a trait with disharmony and an in-depth visionary space by overlapping or mixing spaces differing from each other, and by means of such peculiar and unrealistic expressions, unfamiliar images are created.

• Journal of the Korean Institute of Landscape Architecture
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• 제34권3호
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• pp.23-31
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• 2006

Multi-sensory design results from sensory design paradigm and image centricism, which stimulates 5 sensation; visual, auditory, haptic, smell and taste sensation when we experience environment. This is helpful for designing outdoor space considering integrated sensation not only visual and auditory sensation as well as for improving visitor's satisfaction. Therefore, this study mainly intended to analyse the multi-sensory preference and the image influence of outdoor leisure space. For these purpose, this study selected 3 leisure spaces around Seoul city; Gwan-ak mountain(the type oriented natural resource), Insa-dong(the type oriented cultural resource) and Seoul land as theme park(the type oriented facility) and a survey was performed with a total of 204 visitors at the above spaces in winter and summer. The results of this study indicate that visual sensation was evaluated most high at 3 outdoor leisure spaces in both winter and summer. Visitors at Gwan-ak mountain and Seoul land prefer visual and haptic sensation, but visitors at Insa-dong prefer visual and haptic sensation in summer, visual and taste sensation in winter. Above all, this study led the designer to consider diverse sensation to access leisure space, especially haptic sense, which can be an effective design strategy to satisfy visitors.

• Proceedings of the Korean Institute of Interior Design Conference
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• 한국실내디자인학회 1999년도 춘계학술발표대회 논문집
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• pp.57-60
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• 1999

The eyes are the first sensory organs to perceive the environment. We become accustomed to the environment with our eyes. When we contact the environment, we perceive the appearance of an object with our eyes. Then we recognize our position, and perceive the shape surrounding the object interacting with space. The perception of seeing constructs experiences which control most of our recognition, and the experiences are images of the environment surrounding it. So they are significantly expressed into sensitive and mental elements of material and non-material world. Gibson's ecological perception theory analyzes and information system, which helps man to move effectively, and its component stimulus'. The important thing is that we should understand the combination of systems gathering stimulus not as an individual system but as one whole system.

• Journal of Korea Multimedia Society
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• 제24권6호
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• pp.815-824
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• 2021

Based on the theory of space perception, this paper concludes that the mixed reality application under the theory of space perception has a three-level definition of visual hierarchy and then analyzes the component elements of interface design and the classification mode of interface windows. Next, carry out case practice research through this theoretical definition, and finally conduct the survey and analysis of questionnaire data, verifying that the mixed reality interface design based on spatial perception theory meets the user experience elements of Usability, Availability, and Attraction. The conclusion is that the constituent elements of interface design and the window classification mode can provide specific and practical design specifications for mixed reality interface design, reduce the interaction cost of completing tasks, reduce users' cognitive load, and make it easier for users to receive interface information

• Journal of the Korean housing association
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• 제12권2호
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• pp.77-85
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• 2001

Along with the development of creative design ideas, how to effectively present design concepts is also an important consideration on housing plan process. This could consequently make it possible to automate presentations. In spite of such needs of presentations any significant efforts for the systematic design presentation have not been made yet. The research goals established in order to solve these problems are to develop structures of presentation and analyze the cases of it. This paper explains structures of housing plan presentations in two ways: the compositional elements of panel presentations and the relationships among the elements. The elements include a project title, a synopsis, design concepts, building layouts, floor plan1 and 2, longitudinal and latitudinal elevations, sections, projection and perspective views, and model photographs. Among various relationships among panel compositional elements this study uses relationships based on the Gestalt theory, the balance theory by Rudolf Arnheim and the optical array theory by Gibson. The relationships investigated on the basis of the visual perception theories include the relationships between compositional elements and background space, visual weight balance, horizontal and vertical balances, grouping, and visual layout patterns.

• Journal of Science of Art and Design
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• 제2권
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• pp.239-293
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• 2000

The paper aims to study how to describe the rigorous position on which semantic elements are laid, within the visual space. This purpose is, first of all, for the construction of visual syntactical semantics of the visual space. For this aim, the preliminary research begins with some definitions on : 1) visual space, visual design, visual syntactical semantic meaning, 2) position, sequence of position, 2-dim. sequence of position, and 3) 2-dim. numerical series of position, harmonious dynamic values. Here, The main issue is to define the position in general. To solve this problem, the researcher surveyed the positions on which the sets of pixemes are set up. The results are as follows ; 1. As far as the positions in visual space are concerned, they are the possible locations permitted in the visual patches. They are not the factual but the possible positions. 2.The position value that the sequential point has is not arithmetical but harmonious-dynamic, for it is not permitted for its own sake, but for the person, that is to say, for the viewer's visual perception. 3. The harmonious-dynamic value of positional sequence can be composed of the 2-dimensional successive numerical series which is, in turn, composed of the primordial 3 values x0, $\mu0$, y0. Here, the $\mu0$ is the harmonious mean value of x0 and y0. The x0 and y0 are, therefore, of the mutual dynamic relationship. 4. From this, the 2-dim general $\Delta-TABLE$ of the numerical series of position in visual design could be acquired through development of the primordial 3 values into the $X_i,\;Y_i$, orbit values.

• Science of Emotion and Sensibility
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• 제21권1호
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• pp.115-128
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• 2018

Understanding the process of spatial perception plays a significant role in the design process as well as in the use of actual spaces. The perception of spatial depth can vary according to the space composition and design even there is no change in the actual size of the space. The properties of 3-dimensional space are its width, height, and depth; however, compared to the perception of spatial width and height, little research and theories exist on spatial depth perception. The reasons may be there less interest lies in the effect of spatial depth perception than that of spaciousness or height of space. This study is an investigation of the process of spatial depth perception using an eye-tracking device with stimuli developed through Computer Graphics. A total of 44 interior design major students participated in the eye tracking experiment; and they looked at three images comprised of an identical room with only changes in the rear wall condition. The results show that a significant difference in the fixation duration per stimulus exists. In addition, a significant difference exists on the fixation duration per stimulus according to the participants' answer of the deepest space. The result of this study can help identify factors for spatial depth perception, validate the assumption on it, and provide knowledge on how to acquire desirable spatial depth by utilizing the research result.

• Korean Institute of Interior Design Journal
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• 제36호
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• pp.128-135
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• 2003

The purpose of this study was to analyze the perception of wayfinding in public interior space. According to this study, a virtual reality simulation test was conducted to examine the effect of wayfinding. Theoretical research was used to explain the psycho-physiological effect of visual perception and case study was carried out to evaluate the physiological response of the subjects. For the physiological evaluation, two simulations with sign and color sample were chosen and the EEG was Used. Data were collected from May 15th. to June 15th. The subjects were 20 students of architecture department and frequency, percentage, ANOVA, T-test, multiple comparisons were used for data analysis.

• Korean Institute of Interior Design Journal
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• 제23권2호
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• pp.166-173
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• 2014

This study analyzed visual-perceptual centrality as a measure to solve the confusion that might occur in visitor's movement in analyzing contemporary museums that have recently expand. Also, this study proposed a new methodology to understand the relationships of the occurrence and convergence of visual-perceptual power. The existing visibility graph analysis mostly ends up in identifying nodes corresponding to the physical environment of museums while the newly proposed visibility graph analysis is a methodology that can analyze the landmark on which the visual-perceptual power occurs and converges, by setting visible space elements as analysis variables, which showed a possibility to draw more reliable results in parallel to the existing analysis, and the results of this analysis are as follows. A public museum located in downtown has a limitation that it cannot but be multi-layered as a way to enlarge for the accommodation of a variety of programs on a limited site. Also, this study found that the problem of visitor orientation occurring in the multi-layer process was solved by a major space which was visual-perceptually void. Also, its types can be summarized into two types: One is setting parameter spaces (ramps, staircases, hallways) linked visual-perceptually to the major space and the other is solving the confusion of the visitor's movement by composing a simple exhibition space. In particular, it is judged that the type solving the confusion of the visitor's movement by composing a simple exhibition space also had a relationship with changes in the characteristics of the exhibited works by period. In addition, it was found that the entrance also appeared in two types: dependent type and independent type in the major space according to the characteristics of the major space.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 한국소음진동공학회 2007년도 추계학술대회논문집
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• pp.1177-1182
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• 2007

This study aims at identifying the effect of preferred visual and auditory stimuli on the road traffic noise perception through the series of psychoacoustic experiments. The first experiment was designed to find the addition effect of a sound reproducing system in a square where lay adjacent to roads with road traffic noise, provide appropriate music corresponding to the varying conditions of weather in the given space. In result, it was found that the rating around the square improved toward more positive adjectives. The second experiment was designed to assess the visual effect of twelve roadsides with different landscapes on the road traffic noise perception. As a result, approx. 3 to 5 dB(A) of psychological reduction was seen in places where natural landscape was preferred, compared to the others, although the noise levels were similar. The third experiment was designed to evaluate the effect of visual screen from adjacent roads on road traffic noise perception by means of ME method in a laboratory. In result, the effect of psychological reduction was observed at 65dB(A) or lower. Especially, complete screening from adjacent roads led to 5 to 10% of loudness reduction effect, compared to non-screening cases. Finally, the fourth experiment was designed to evaluate the effect of visual and auditory information with ME method and 7-point SD rating scale in a laboratory. In result, up to 10% of loudness reduction and about 2dB(A) of noise perceptional reduction were seen at 65dB(A) or lower.