• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.293-301
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• 2013

The purpose of this study was to find the space perception by the scene and to analyze the characteristics in the exhibition space. The data for the analysis was collected through a questionnaire survey method. The questionnaire is composed of a scene selection on the panoramic photographs of the exhibition space. 'The 4 Rivers Cultural Center - The ARK' was selected as the subject of this survey. The results of the study are presented as follows : First, the space perception perceived imaged scenes rather than the specific elements of space. Second, the space perception was revealed through the 'Form', 'Materials', 'Light', 'Lighting', 'Furniture' and 'Media' of notable elements. Also that was perceived by forming 'Line', 'Surface' and 'Volume'. Particularly, the perception of 'Surface' was higher than 'Line' and 'Volume'. 'Surface' was perceived mostly through the 'Color'. The perception of 'Line' was positive to 'Boundary' or 'Continuous placement of the light'. In addition, the perception of 'Volume' was positive to 'The curve of the form', 'Transparent material', 'Three-dimensional elements'. Finally, The type of space perception was chosen as 'Extension', 'Center', 'Deep', 'Boundary' and 'Formative'. In this way, the results of this study will set a foundation for developing design methods to induce the space perception by the scene in the exhibition space.

• Science of Emotion and Sensibility
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• v.2 no.1
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• pp.69-75
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• 1999

본 연구는 우리말 형용사를 이용하여 각종 생활공간음에 대해 느끼는 사람들이 감성적 반응의 차원을 밝히기 위한 기초 연구로 수행되었다. 형용사 사전에서 추출된 어휘들에 대한 적합성 및 유사성 평가를 통해 14개의 형용사가 최종적으로 선정되었고, 이 형용사들의 유사성 점수에 대해 요인분석, 다차원 척도 분석 및 군집분석을 시행하였다. 연구 결과 생활공간음에 대한 사람들의 감성적 반응은 크게 3가지 차원, 즉 쾌-불쾌, 민감-둔감 및 지각된 크기가 추출되었고, 소음에 대해 느끼는 감성은 이들 차원 상에서 측정될 수 있는 것으로 나타났다. 이들 차원들은 서로 직선적인 관계가 있는 것으로 보인다. 즉, 소음에 대해 민감한 사람은 그 소음에 대해 불쾌하거나 짜증을 일으키기 쉽지만 소음에 대해 불쾌하거나 짜즈을 일으킨 사람이 소음에 대해 민감한 사람이라고 볼 수는 없을 것이다. 따라서 이들 차원간에 구체적인 통로분석이 이루어져야 할 것으로 보이며 이는 후속연구에서 밝혀질 것이다. 또한 실제 소음을 제시하여 각각의 소음을 평가하는 경험적 연구도 수행될 것이다.

• Korean Journal of Cognitive Science
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• v.15 no.2
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• pp.1-15
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• 2004

The structure of sensibility from motion was developed for the purpose of understanding relationship between sensibilities and physical factors to apply it to dynamic visual display. Seventy adjectives were collected by assessing adequacy to express sensibilities from motion and reporting sensibilities recalled from dynamic displays with achromatic color. Various motion displays with a moving single dot were rated according to the degree of sensibility corresponding to each adjective, on the basis of the Semantic Differential (SD) method. The results of assessment were analyzed by means of the factor analysis to reduce 70 words into 19 fundamental sensibilities from motion. The Multidimensional Scaling (MDS) technique constructed the sensibility space in motion, in which 19 sensibilities were scattered with two dimensions, active-passive and bright-dark Motion types systemically varied in kinematic factors were placed on the two-dimensional space of motion sensibility, in order to analyze important variables affecting sensibility from motion. Patterns of placement indicate that speed and both of cycle and amplitude in trajectories tend to partially determine sensibility. Although color and motion affected sensibility according to the in dimensions, it seemed that combination of motion and color made each have dominant effect individually in a certain sensibility dimension, motion to active-passive and color to bright-dark.

• Science of Emotion and Sensibility
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• v.7 no.1
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• pp.41-49
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• 2004

The affective words on photographic images were analyzed and a model was structured. Based on this model, the effects of color on the affections were studied. In study 1, the photographic images with various materials and techniques were presented and the affective responses are collected. The factor analysis using principal axing method showed that the variance of the affective words could be explained about 42％ by the three factors. These are named positive-negative, dynamic-static, light-heavy, respectively. In study 2, the effects of color on the affections were evaluated on three basic dimensions. Ninety representative color images were converged black-and-white images, and each of 180 images was rated on the three affective scales. The t-test showed that the effects of color are statistically significant on the three affective scales, respectively. The achromatic images were felt more negative, more static, and heavier than chromatic images.

• Journal of the Society of Disaster Information
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• v.15 no.1
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• pp.121-132
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• 2019

Purpose: This study aims to analyze the meaning of architectural space of Alvar Aalto, which is based on architectural theories of periodic flows and the form of the space with the various elements applied to the works. Method: It analyzes the interrelationships of light, form and material in triangular composition by synthesizing the architectural vocabulary of Alvar Aalto from the viewpoint of modernism. Results: The architectural works of Alvar Aalto are centered on the combination of light, form, material, and space diversity, emphasizing social awareness and linking the human scale with the building environment. Conclusion: The structure of the Alvar Aalto is a synonym of nature and culture, society and individuals, standardization and diversity, universality and locality, intellectual and emotional, scientific and human psychological. It is possible to apply reciprocity elements to architectural spaces in a comprehensive manner while being different from each other in terms of rationality and immediacy.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2002.05a
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• pp.59-64
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• 2002

인지심리학 및 인지언어학 분야에서 시도한 어휘 표상, 특히 움직임과 관련된 동사의 인지도식에 관한 연구들을 비교해보고자 한다. 인간의 언어학적인 지식을 도식적으로 표상 하고자 하는 노력은 언어의 통사적인 외형에만 치중하는 연구에서는 언어의 의미구조를 파악하기 힘들다고 판단하고 의미적인 범주화를 중요시하게 되었다. 본 연구에서는 시각적 이미지 도식을 중점적으로 살펴보기로 한다. 이미지 도식은 공간적 위치 관계, 이동, 형상 등에 관한 지각과 결부되어 있다. 이미지로 나타낸 표상은 근본적으로 세상의 인식과 세상에 대한 행동방법을 사용하게 하는 유추적이고 은유적인 원칙에 기초하고 있다. 이러한 점에 있어서, 언술을 발화한 화자는 어느 정도 주관적인 행동의 능력과 그가 인식한 개념화에서부터 문자화시킨 표상을 구성한다. 인지 원칙에 입각한 의미 표상에 중점을 둔 도식으로는, Langacker, Lakoff, Talmy의 도식이 있다. 프랑스에서 톰 R. Thom과 같은 수학자들은 질적인 현상에 관심을 가져 형역학(morphodynamique)이론을 확립하였는데, 이 이론은 요즘의 인지 연구에 수학적 기초를 제공하였다. R. Thom, J. Petitot-Cocorda의 도식 및 구조 의미론의 창시자라고 불리는 B.Pottier의 도식이 여기에 속한다 J.-P. Descles가 제시한 인지연산문법(Grammaire Applicative et Cognitive)은 다른 인지문법과는 달리 정보 자동처리과정에서 사용할 수 있는 연산자와 피연산자의 관계에 기초한 수학적 연산작용을 발전시켰다. 동사의 의미는 의미-인지 도식으로 설명되는데, 이것은 서로 다른 연산자와 피연산자로 구성된 형식화된 표현이다. 인간의 인지 기능은 언어로 표현되며, 언어는 인간의 의사소통, 사고 행위 및 인지학습의 핵심적 기능을 담당한다. 인간의 언어정보처리 메카니즘은 매우 복잡한 과정이기 때문에 언어정보처리와 관련된 언어심리학, 인지언어학, 형식언어학, 신경해부학 및 인공지능학 등의 관련된 분야의 학제적 연구가 필요하다.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.5
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• pp.63-72
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• 2012

In contemporary times, "environmental designers" need to consider both exterior and interior aspects because of the growing trend in dissolution between exterior and interior spaces. To quantify "spatial sense" which serves as the standard for environmental design, this study has asked 63 subjects to evaluate 15 interior and 14 exterior spaces. The "spaciousness (small-large)", "openness(closed-open)", "warmness(warm-cold)", "brightness(bright-dark)", "softness(soft-hard)", "spatial intimacy" and "frequency of visit" were adopted as variables of spatial sense. Through the analysis of these variables, this study could gain the difference between spatial sense for exterior and interior environments, quantify the spatial sense that physically and psychologically appropriates to human beings. The result of this study can be summarized as follows: Twice the amount of spaciousness was observed between the interior and exterior spaces. And the standard on intimate space is established with W/H ratio of 5.71 and high Window/Wall Area ratio in the interior and an area of 3,800m2 and a W/H ratio of 5.57 in exterior. The difference between the spatial sense in the interior and exterior space is mostly dependent on the psychological sense. The increase of physical size caused by the interior space to be perceived as cold, dark and hard psychologically, but exterior space to be perceived as warm, bright and soft. Psychological senses, especially softness, affect spatial intimacy to the greatest extent among the given variables. As the psychological senses for interior spaces were largely independent from the given space's size and perceptive senses, the size of the interior space, which exhibited spatial intimacy, could not be deduced. In comparison to this, due to the high dependency between the psychological senses for exterior spaces and the given space's size and perceptive senses. The study also showed that interior and exterior spaces have relatively different spatial sense and physical standards. Such research results are predicted to provide applicable standards for environmental designers for exterior and interior spaces in the future.

• Archives of design research
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• v.17 no.3
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• pp.27-38
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• 2004

It is important for designers to be supported with their decision-making on colours which is often based on personal distinction rather than logical dialogue that may lead to confusion within communicating with others. To help these problems and to gain productivity, we would like to propose a way to define colour grouping method. In other words, the purpose of this study is to help to improve the communication and productivity within the design and designers. The grouping was based and inspired by from the studies of Kobayashi, Hideaki Chijiawa, Allis Westgate and Martha Gill. The study of grouping is based on the "tones" of each group, as they seem to reflect a designer s sentimentalism of chosen colours the best. Each of these groups will be named Bright , Pastel ,Deep and Neutral The general concept of each groups are: - Bright: high quality of pixels of primary colour - Pastel: primary colour with white - - Deep: Primary colour with gray or black - Neutral: colours that does not include any of above Each of the colour group has been allocated into Si-Hwa Jung's colour charts and colour prism to visualize the relationships between the colour groups. These four groups and the colours included in them will be broken down to smaller groups in order to make colour palette. This would break the barrier and result in using colours in groups as well as crossover coordination. This study would result in new ways of using colurs for designers designers

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.