• Korean Journal of Environmental Biology
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• v.40 no.4
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• pp.525-549
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• 2022

The process of biological invasion is led by the dynamics of a population as a demographic and evolutionary unit. Spatial structure can affect the population dynamics, and it is worth being considered in research on biological invasion which is always accompanied by dispersal. Metapopulation theory is a representative approach to spatially structured populations, which is chiefly applied in the field of ecology and evolutionary biology despite the controversy about its definition. In this study, metapopulation was considered as a spatially structured population that includes at least one subpopulation with significant extinction probability. The early phase of the invasion is suitable to be analyzed in aspects of the metapopulation concept because the introduced population usually has a high extinction probability, and their ecological·genetic traits determining the invasiveness can be affected by the metapopulation structure. Although it is important in the explanation of the prediction of the invasion probability, the metapopulation concept is rarely used in ecological research about biological invasion in Korea. It is expected that applying the metapopulation theory can supply a more detailed investigation of the invasion process at the population level, which is relatively inadequate in Korea. In this study, a framework dividing the invasive metapopulation into long- and middle-distance scales by the relative distance of movement to the natural dispersal range of species is proposed to easily analyze the effect of a metapopulation in real cases. Increased understanding of the mechanisms underlying invasions and improved prediction of future invasion risk are expected with the metapopulation concept and this framework.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.119-127
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• 2015

Sou Fujimoto is well known as the 3rd Japanese architect to participate in the Serpentine Pavilion project, especially youngest of all architects. His projects seem very experimental yet inviting, modern yet comforting and these feeling may be resulted in his metaphor of 'Forest' that is very often mentioned in his writings which originally comes from his personal experience of the city and nature. The purpose of this paper is to understand the Fujimoto's metaphor of 'Forest' and design language he uses to express this very idea. The researchers have analyzed Fujimoto's writings and interviews in order to understand his general design ideas and process, then extracted wordings describing 'Forest' in his works. Four main concepts were found and categorized as follows: blurring territorial boundaries, proliferation of parts, manipulating spatial relationships, and ambiguity in function. Then two or three projects were selected and analyzed in each category to understand design methods used. The results show that Fujimoto enjoys using gradation of density to blur territorial boundaries in order to express ambiguous outline of forest, and fractal reproductions in proliferation of parts to uses express wavering whole and modifying angles in manipulating spatial relationships to show hidden order.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2014.10a
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• pp.363-365
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• 2014

Internet baking, e-commerce, business processing, etc on smartphone handing could be possible in present days. Ambiguity between cyber and real life has made vulnerability on infrastructure, Gov't Service and National security by cyber terrorism. Especially, Lots of Infrastructure and Gov't Service based on Information Technology were exposed by Cyber terror. Legal system should be improved to keep from these threats. This paper proposed needs of cyber legal system by analyzing proposed cyber related code on Korean National Assembly, issue on Cyber Control Tower, National Cyber Security Industry and Human resource.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.635-641
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• 2024

Based on Merleau-Ponty and Lakoff's research on the inseparability of body and mind, this thesis seeks to explore the impact of experiences in multi-layered spaces based on media art on the understanding of human existence. The sensory experience provided by media art strengthens the viewer's physical presence and induces a new perception of reality by blurring the boundaries between reality and virtuality. Through this, it shows that it is possible to newly recognize and explore the deep relationship between human existence and the world. This paper analyzes how media art can be an important means of expanding existential experience through the connection between body and mind, and explains how the combination of art and technology contributes to ontological understanding.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1059-1063
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• 2009

모바일 폰의 메뉴 구조는 하이퍼텍스트 형태로 정보를 제공하며 링크의 연결로 페이지 정보를 전달하거나 하부 카테고리로 연결하는 역할을 한다. 모바일 폰 사용자는 메뉴 조작을 통해 기능을 실행하며, 이 과정에서 선형구조, 계층형 구조, 대화형 구조, 데이터베이스 구조, 혼합구조와 같은 다양한 형태를 경험하게 된다. 사용자는 모바일 폰의 다양한 기능을 사용하면서 추상적 개념의 공간 인지를 구체적인 공간으로 이해하려 한다. 즉 UI, GUI에서 제시하고 있는 Label이나 방향표시를 따라 상하좌우라는 공간적 개념으로 은유하여 이해하는 것이다. 하드키 단말의 경우는 상하좌우키를 이용하여 공간을 이해했다면 최근에는 터치 및 제스처 동작 인식이 가능한 폰이 등장하면서 좌우 flick, 상하 flick 등과 같은 구체적인 행동으로 디바이스 화면에서 공간이 이동하는 것으로 이해하고 있다. 본 논문에서 사용자의 공간 은유를 이해하기 위해 상위 depth로 이동하는 [이전] 키의 기능을 중심으로 살펴보고자 한다. 첫째, 기능을 수행하기 위해 순차적으로 진행하는 방법보다는 [취소]를 이용하여 depth를 이동하는 것이 사용자의 모바일 폰의 공간 은유 파악에 더욱 도움을 줄 수 있을 것이라고 예상되기 때문이다. 둘째, [이전], [취소]라는 Label이 가지고 있는 모호성 때문이다. 모바일 폰의 다양한 기능 중에서 [이전]는 전체 사용에 있어 아주 작은 요소에 불과하지만 사용자는 정해진 순서의 process에 따라 기능을 수행할 때와는 다르게 역 방향 Process를 사용하면서 모바일 폰의 구조를 이해하고 모바일 공간을 인지하는 중요한 요소로 사용될 수 있을 것이라고 예상된다. 본 논문에서는 이전으로 돌아가는 [이전]의 기능을 통해 사용자가 메뉴의 층위 구조 및 공간 인지에 영향을 미칠 수 있을 것이다라는 가설을 설정하여 이를 실험을 통해 증명하고자 한다. 실험을 위해 모바일 폰을 자주 사용하고 있는 20~30대 남녀 10명의 피험자에게 전화번호부, 앨범, 문자메시지의 목록화면과 상세보기 화면을 제시한 후 마지막 상세보기 화면에서 실험에서 제시하는 제시어를 보고 어느 화면으로 이동하게 될 것인지를 예상하는 질문을 하였으며, 그러한 이유에 대해서는 인터뷰를 통해 확인하였다. 이 실험을 통해 사용자의 모바일 폰 공간인지는 동일한 레벨의 단계 즉 상세보기의 경우는 수평의 관계라고 보고 있으며, 목록화면과 상세화면의 관계는 상하의 관계라고 이해하고 있다. 이러한 이유를 인터뷰를 통해 질문하였을 때, 상세화면에서 좌우 방향표시가 존재하기 때문이라는 응답이 높았으며, 상세보기 화면이 좌우라고 인식하면 목록화면은 상하의 관계로 이해하고 있다고 응답하였다. 즉 하나의 정해진 공간인지를 통해 다른 공간을 유추하여 생각하고 있다고 볼 수 있다. 또한 결과적으로 실제 단말에서 [이전] 기능을 상위 depth로 이동하도록 설계하였다면 [한단계위]라는 Label 또는 e번과 같은 상위의 개념을 포함한 아이콘을 사용한다면 혼란을 줄일 수 있는 방법으로 활용될 수 있을 것으로 예상된다. 현재 논문에서는 [이전]라는 기능으로만 사용자의 공간 개념을 예측할 수 있었지만, 터치스크린의 등장과 함께 플릭과 같은 다양한 제스처에 의한 인터렉션이 가능한 현 시점에서 추상적인 공간은 방향성을 가진 제스처에 의해 구체적인 물리적 공간으로 인식하는 경향이 더욱 뚜렷이 나타나고 있다. 이러한 시점에서 사용자의 공간인지에 도움을 줄 수 있는 Label과 방향성 표시는 더욱 절실히 요구되고 있는 시점이며, 이후 모바일 환경에서 사용자의 공간인지에 대한 구체적인 연구가 필요하리라고 예상된다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3220-3230
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• 2014

This paper analyzes the house designs of Kazuyo Sejima and Ryue Nishizawa from the 1900s to the early 2000s' works. By analyzing the degree of space integration of each house using the Convex Map of the Space Syntax Theory, this study arrived at the following conclusions in the respects of private space and public space. First, from period 1 (the 1990s) to period 2 (the first half of the 2000s), the differences between average integration values of private space and public space in their works have decreased. Over time, in general, average integration values of private space have increased, and, on the other hand, those of public space have decreased, leading to smaller differences between two sets of values, which means that, as the integration degrees of private and public spaces have become similar, the boundary which divides spaces becomes blurry. Second, in terms of private space, average integration values of private space in S-3 (House in a Plum Grove) and S-4 (House in China), works of period 2, are the highest among those values of their all 10 works. We can identify that, closure degrees of private space in their works have fallen over time. Third, in terms of public space, average integration values of I-2 (Villa in the Forest), I-5 (S-House), and I-6 (Weekend House), works of period 1, are the highest among those values of their all 10 works. Public space has become more central and open from period 1 to period 2.

• Spatial Information Research
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• v.7 no.2
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• pp.255-269
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• 1999

This is an experimental study to translate the Korean digital topographic maps into distributable information-hide objects, which are designed with object-oriented development's key features ; encapsulation, polymorphism, inheritance, In order to achieve this goal , the characteristics of the data mode and inter-relationships of digital topographic maps are investigated . As a result, it is revealed that the current Korean digital topographic maps, which is organized into so many individual layers of mixed spatial and attributed data, have to explicit and concrete hierarchies in spatial data model and data definition . Due to this limitation , data layer stage and object class stage are integrated. And ISCO(the is-computer -of relationships) mechanism is mainly used to develop the objects of digital topogrpahic maps, which is implemented with spatial primitive classes. the designed objects are coded with JAVA and then testified in web interface.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.59-70
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• 2021

This paper studies and analyzes the effect of illustrations in picture books on time representation with fictional picture books as the study scope. In this paper, the time type of picture books can be divided into time point, timeline and time rhythm, referring to case analysis from time symbolic elements, picture layout and picture sequence respectively. First of all, time symbolic elements are referred to the time point and time rhythm. The materialized time symbolic element is things that can directly represent time and trigger associations with time; the color symbolic element means the color changes in the real world within a certain time; the contrast of light and shadow corresponds to the changes in a day. Fast-moving objects will be presented with dashed or blurred lines, while static, stable and slow objects will be depicted with solid lines. Secondly, the picture layout of illustrations in picture books is suitable for representing the content of the timeline and describing the sequence or causality of events. Finally, the picture sequence can represent the timeline, time rhythm and "synchronicity". It will make use of visual logic to win readers' trust in time information expressed in pictures, and then follow and connect viewpoints on the basis of adapting to reading habits. The essence of time representation in picture books is to express time by space, and use different combinations of elements in space and visual guidance to convey time information.