• 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.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Archives of design research
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• v.18 no.1 s.59
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• pp.263-272
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• 2005

The layout in picture book is a visual statement that arouses children's psychological reaction upon pictorial positions and those disposition, and that indicates a correlation between theme and background and characters' movements. This study firstly confirmed that children's perception and experience are variously formed according to age, past experience, psychological action, physiological impulse, mentality, growth environment, etc., in order to analyze how the pictorial layout in children's picture book has influence on children visually and psychologically. Likewise, visual and psychological perception was carried out targeting on the children between 4 and 7 years old, based on the perceptive specific and process that have been studied by previous researchers. In addition, the children's picture books published overseas or domestically were presented as the related cases, in order that the facts analyzed may be drawn to harmonious and effective pictorial layout. Lastly, it is expected that the conclusion suggested by this study may be of help to illustrators to design picture books individually and creatively, as well as be applied to studying effective expression in the educant who learn about illustration.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.52-61
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• 2015

Personal distance is one of the basic and important concepts in the field of Environmental Psychology in influencing personal space, visible or invisible territoriality and psychological carrying capacity of contemporary urban dwellers. This study aims to analyze the bench users' behaviour and personal distances in urban parks for the first time in Korea, one of the representative landscape spaces in urban areas. For these purposes, this study has adopted a blind observation and pictorial analysis for bench users in Yeouido Park in Seoul. The main results of this study show that the average interpersonal distance between female and male(intimate relationship) is 47.5cm, the distance between female and female is 53.2cm, and the distance between male and male is 70.3cm. These results mostly support the previous western study results, but the interpersonal space and territoriality of Koreans in urban parks may be smaller than that for western societies.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.sup1
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• pp.71-78
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• 2016

Printing of pictorial health warnings (PHWs) on cigarette packages became obligatory by the Vietnam Law on Prevention and Control of Tobacco Harm in May 2013. Literature from high-income countries suggests that PHWs motivate smokers to quit smoking although their long-term effects have been questioned due to reduction of impact over time. This study aimed to assess the salience of PHWs and smokers' reactions towards PHWs over time. In May 2014 and May 2015, a cross-sectional questionnaire-based household survey was administered to respectively 1,462 and 1,509 Vietnamese male smokers aged 18 to 35. The result showed that salience of the PHWs 2 years after the implementation was higher than at the point of 1 year after the implementation. The proportion of respondents who tried to avoid noting the PHWs was reduced from 35% in wave 1 to 23% in wave 2. However, "Tried to avoid looking/thinking about the PHWs" increased 1.5 times the odds of presenting quit intention compared to those respondents who did not try to avoid looking/thinking about the PHWs (OR=1.5; 95%CI: 1.2-2.0). In conclusion, avoidance regarding PHWs may not work as a barrier when aiming at a higher level of quit intention. Salience of the PHWs may increase in the period shortly after their introduction onto packs but can be expected to decrease with time. In other words, it might be advisable to change or renew PHWs after a period of implementation to maintain their beneficial effects.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.118-129
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• 2007

Overflowing of fashion information that is derived from the development of various mass media has rather hindered adopters from appropriately screening fashion information. Thus, responsibilities of fashion journalists who play a role of communicating fashion information have become heavier. Fashion journalism may be defined as 'delivery of modes and involvement in production and logistics'. Since it connects fashion and culture industries with the public by reflecting fashion from diversified perspectives, the role of fashion journalism should never be overlooked in terms of culture as well as industry. This study analyzes fashion journalism from fashion-advanced country by reviewing the fashion journalism from the US, which is so-called fashion-advanced country and analyzing the contents of Vogue USA. This study made a historical review of fashion journalism through a reference study, and from a total of 24 volumes of Vogue USA from January 2004 through December 2005 classified articles by functions, tones, contents, and brands, pictorial records by functions, images, and brands, and ads by brands, quantitatively analyzing them. Further, through a case study it explored those articles and pictorial records which featured national characteristics in the USA, and examined how the fashion journalism in the USA imaged the fashion in the country. In addition, it tried to elicit the characteristics of fashion in the USA as a conclusion by categorizing those images while reviewing previous studies. The results show that Vogue USA features American fashion definitely. Thus, consequently it is easy to find images of American fashion in pictorial records, let alone categorizing them.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.202-209
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• 2010

Today, we are living in an information era during which we are flooded with information, and it is not an exception also in the magazine field. This study aimed to identify the unique characteristics of magazines by men's magazine companies as research into the big three men's magazines licensed in Korea. Accordingly, concerning a detailed research method, a practical study was carried out on the basis of statistics about the proportion of the contents composition in those magazines. This is because all magazines realize a target point to which their companies aspire, through the contents composition using articles or a pictorial magazine. As a result of thestudy, in the big three licensed men's magazines (Esquire, Arena, and GQ) in Korea, the highest proportion of the contents composition was the proportion of advertising, posting 37.5% on average, which was followed by the proportion of articles or a pictorial concerning fashion, marking 26.8% on average. Therefore, the domestic licensed men's magazines, which were identified by the proportion of the contents composition, were discovered to have thecharacteristics of a fashion magazine. Furthermore, they were found to be published with as lightly different contents composition based on a magazine concept pursued by each magazine company.

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.83-99
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• 2000

This paper purposes to provide a new perspective for better development of geography texts. For this purpose, we have applied spatial cognition development theory to children's drawings. We have suggested that children's spatial operation ability has three development stages according to their age: topological space, projective space, euclidean space. This study turns out that Piaget and Inhelder's spatial concept development theory is on the right track. However, we make clear that their division according to the age is not always accurate due to children's individual differences. These findings have educational implications as the following: First, it is dubious that most children can understand pictures, pictorial maps and illustrations in the third grader's textbook. Second, current textbooks require pictorial map understanding and drawing to third grade students and map drawing to fourth grade students. However, according to this study, the placement of these tasks are not fit for children's developmental stage because both tasks correspond to euclidean space operation. Therefore, we should remove them from the textbook for children at the age.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.101-109
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• 2014

Bangryeong generally means rectangular collars at present. However, it is estimated that there would be Bangryeong in different shapes besides rectangular shape in ancient times, but there is no accurate evidence. The dispute on the shape of Bangryeong started with the records in Yegi(禮記) and Simui written during Zhou period, China, the oldest records on Bangryeong. However, there are no remains or paintings(pictorial data) accurately proving the different shapes of Bangryeong. While the new shape of Gokgeop(collar of Simui) was mentioned by Zhu Xi during Song period, it was not accurately verified. There are almost no literature, excavated objects or pictorial data on the shapes of Bangryeong which are not definitely identified. The shape of Bangryeong is identified to a certain extent by objects excavated or pictorial data during Yuan and Ming period. There will be definite reasons why Zhou Xibao and Hua Mei, the scholars in China, the y-shaped collar rolled on the chest among the objects excavated during Warring States Period as Bangryeong or Guryeong. Thus, this paper investigated the notes and description in Yegijeongui(禮記正義) and the records and notes during the Han period which are mentioned most frequently except Yegi among the records on Bangryeong. Accordingly, this paper identified that there are different shapes of Bangryeong except rectangular shape during the Han period. It is estimated that Bangyeong at that time had symmetric collars, the collars of Jikryeong which are not overlapped. The collar section after the neck section was straight. It was also said that Bangyeong was women's clothing. In other words, Bangyeong in the Han period suggests that the collar of Jikryeong was Bangryeong. As discussed above, Bangryeong has the long history and different meanings by period. However, it is very difficult to accurately define Bangryeong because there are almost no records on it. Nevertheless, Bangryeong will be discussed more in further study.

• Journal of the Korean Society of Radiology
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• v.82 no.3
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• pp.575-588
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• 2021

Immunoglobulin G4 (IgG4)-related disease is a systemic fibro-inflammatory disease characterized by pathologic findings in various organs. Imaging is critical for the diagnosis and treatment assessment of patients with IgG4-related disease. In this pictorial essay, we review the key features of multiple imaging modalities, typical pathologic findings, and differential diagnosis of IgG4-related disease. This systematic pictorial review can further our understanding of the broad-spectrum manifestations of this disease.