• 한국디지털건축인테리어학회논문집
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• 제9권1호
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• pp.19-29
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• 2009

The architectural space is the involuntary place where man lives and experiences, and as a 3 dimensional space through the continuous experience with the concept of 4th dimension of time, it provides the observers with the dramatic space imagery These kinds of space experiences are experienced mentally and perceptively through the physical elements of inner and outer space of the architectural buildings, and this space imagery is created here by all the space composing elemensts of the building. These space experiences are caused by the changing processes of the space characteristics, and the observers perceive the changes in space characteristics. The present building is going with Eco-Architecture. When 2008 sees the building,,Eco-Architecture design which hits appears. There is a possibility of seeing 16 kind types from that place. And From here examined the spatiality which is expressed. These changing processes of inner and outer space, space versus space, and unit space, which are perceived by the observer. It's way to help in architectural design and wishes.

• 한국디지털건축인테리어학회논문집
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• 제11권4호
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• pp.67-80
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• 2011

The architectural space is the involuntary place where man lives and experiences, and as a 3 dimensional space through the continuous experience with the concept of 4th dimension of time, it provides the observers with the dramatic space imagery. These kinds of space experiences are experienced mentally and perceptively through the physical elements of inner and outer space of the architectural buildings, and this space imagery is created here by all the space composing elemensts of the building. These space experiences are caused by the changing processes of the space characteristics, and the observers perceive the changes in space characteristics. The present building is going with Eco-Architecture. When 2008 sees the building,,Eco-Architecture design which hits appears. There is a possibility of seeing 16 kind types from that place. And From here examined the spatiality which is expressed. These changing processes of inner and outer space, space versus space, and unit space, which are perceived by the observer. It`s way to help in architectural design and wishes.

• 복식문화연구
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• 제24권3호
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Applied Microscopy
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• 제31권4호
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• pp.375-383
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• 2001

한국산 관박쥐과의 관박쥐 (Rhinolophus ferrmmequinum korai)와 애기박쥐과 Myotis속에 속하는 큰발웃수염 박쥐 (Myotis macrodactylus), 물웃수염박쥐 (Myotis daubentonii ussrinesis) 및 관코박쥐 (Murina leucogaster intermedia)의 활동기 간장 조직을 투과전자현미경으로 관찰하여 이들의 미세구조적 특징을 규명하고 이들 간에 존재하는 차이를 비교 고찰하고자 하였다. 관박쥐는 세포질 내에 $10\sim20$개의 크고 둥근 사립체를 가지고 있었으며, 특히 과산화소체가 잘 발달되어 있었다. 큰발웃수염박쥐는 간세포간 사이의 연접복합체, 특히 부착반점이 잘 발달되어 있었다. 디세강과 동굴모세혈관 속은 섬세한 물질로 채워져 있었다. 물웃수염박쥐는 세포질 내에 당원과립을 많이 가지고 있었으며, 디세강과 동양혈관 속은 섬세한 물질로 채워져 있었다. 관코박쥐는 동굴모세혈관에 기저막이 잘 발달되어 있었으며, Kupffer 세포와 Ito 세포는 관찰되지 않았다. 이상의 결과는 같은 시기의 한국산 박쥐의 간장에서도 종에 따라서 미세구조적 차이가 나타남을 보여주는 것으로 이들은 이들의 생활환경과 식이와 관련이 있을 것으로 추정된다.

• 복식
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• 제57권8호
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• pp.114-124
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• 2007

Contemporary fashion design has been represented as intermedia transcended value and spatiotemporal notion and also had a tendency to concentrate on serial process that materials are transfigured through time rather than existence. These forms related to interaction with time, space and performance as well as compositive genres, hybrid culture, compound gender define as 'serial expression' in this study. The serial expression ran be characterized that system, process, series, enumeration of sequences, depiction of performance, repetition of action in fashion collections and exhibitions of designers. The concept and circumstances made by author as a creator of fashion broaden perceptions of audiences and arouse spectators to participate in the situation as needing immediate attention. The forms of fashion and Conceptual Art in serial expression are analogous and even identical situations represent in fashion collection. Therefore analysis serial forms of art derives formative features: Narrative process, Imitation and Appropriation, Virtual reality and High technology, Hybridism and Convergence. This study suggest a framework to analyze conceptual fashion that give salience to megatrend in contemporary fashion culture on artistic point of view.

• 한국실내디자인학회논문집
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• 제26호
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• pp.104-111
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• 2001

This study deals with the expressive characteristics of Installation Art and their applicability to environmental design, and as such, aims to specify a artistic methods from the contemporary art. What Installation Art is search of in their works is "the state of relationships" which is "to replace the concept of form with that of structure, and the concept of space with that of the environment" that is, the terms of relations in the overall environment of time and space. Installation Art essentially relies on a multiplicity of forms and attitudes leading to projects which positively make use of "spatial-temporal process" to reaffirm and "problematise" their open-endedness manifest in complex contextuality and shifting temporality. This study presents a new interpretation of spatial-temporal dimension, site-specificity, and intermedia art that we find in Installation Art and tries to combine that new artistic insight a with environmental design to provide a basis for integrated art. This study places a great emphasis on the interdisciplinary approaches to the environment we inhabit, which I hope will contribute to generating a greater number of creative possibilities for environmental design.

• Journal of Ecology and Environment
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• 제43권3호
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• pp.282-288
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• 2019

We investigated the changes in the population size and inter-specific space usage for breeding in mixed breeding sites of the great cormorant (Phalacrocorax carbo), grey heron (Ardea cinerea), great egret (Ardea alba modesta) and intermediate egret (Egretta intermedia) in Gammul-myeon, Goesan-gun, Chungcheongbuk-do, South Korea, in 2016-2017. These species bred in two adjacent habitats (site A and site B). The number of breeding pairs of all species and the size of the breeding area at site B increased in 2017. In 2017, great cormorants at site B occupied the breeding sites previously occupied by the other species in 2016, while the grey heron and great egret occupied the sites around the great cormorant breeding site. The heights of nest trees and nests of great cormorant and grey heron did not differ temporally, but these heights in site B were significantly higher than those in site A for great cormorants. For great egrets, these greatly decreased in site B in 2017. Thus, the great cormorant either moved to favourable nest sites for breeding success or selected nest sites used by the herons in the previous year. Further studies of these two possibilities are necessary.

• 조형예술학연구
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• 제3권
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• pp.5-32
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• 2001

At the beginning of 21st Century, human desire of communication is forwarding to the Cosmos The way of Communication is going to be not by simple methodology but by the complicated methodology with high technology. It will not be monologue communication but be interactive communication, that will make intelligence Infra, which could be able to communicate from the location of information is present to which is not present; and the multi-media which will be able to solve the technical problems of these communication; will be developed continually. In the genre of plastic art, there are no exception in these changedness. More developed and proceed to develope intermedia could be able of intercommunication. The more development of technology could be able to the more development of new plastic art. Furthermore the development of science make the genre of art to be changed. There are no exception of this changedness in any part of society, The art always has been guided by the person who has proceeding idea for new value. The 21st century plastic art will be in the procedure of the intercommunication. Human-being's concern is to communicate with Universe, and that will be multi-dimension$(4{\cdot}5{\cdot}6{\cdot}7{\cdots}dimension)$ communication beyond our usual recognition. To conjoin this, the possibility of cyber space expressing is going to be considered, and the way is being done by the development of the Media Art, which is able to go and back to the cyber-space. And the message will be so complicate beyond our recognition. Because we will need to communicate with various newly-built vocabulary, so we need to magnify the repertories of new vocabulary.