• 한국지형공간정보학회:학술대회논문집
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• 2002.03a
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• pp.106-112
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• 2002

최근 급속한 도시의 팽창 및 신도시 건설과 산업의 발전으로 가스시설은 꾸준히 확대되고 있는 실정이다. 그리고 94년 아현동 도시가스사고와 95년 대구 도시가스사고 이후로 도시 가스 시설물의 대한 안전 대책 및 시설물 관리에 대한 국민들의 관심이 증대되었다. 이러한 흐름에 따라 가스회사들은 GIS 기술을 도입하여 기존에 수작업으로 관리되고 있는 가스시설 정보체계를 전산화하여 항상 최신의 현황을 유지하고, 사고 발생시 신속한 대처 방안 및 피해예측을 위한 시스템을 개발하기 위하여 많은 연구를 진행하고 있는 실정이다. 본 연구의 목적은 안전이 중요시되는 가스시설물에 대하여 가스사고 발생시 신속한 대처 및 처리방안을 제시할 수 있는 GIS 기반의 가스사고 관리시스템을 개발하는데 있다. GIS의 가스사고 관리시스템에서는 사고 발생시에 시설물 관리자가 사고 지점을 선택하여 우선적으로 공급을 중단해야 할 관로를 제시하고 사고지점을 검색하여 차단해야 할 밸브에 대한 정보를 신속히 제공하여 대응 방안을 제시 할 수 있도록 하였다. 아울러 가스공급이 중단되는 지역에 대한 정보를 추출하여 피해범위를 산정하여 효율적인 사고 관리를 지원하도록 구성되었으며, 이와 함께 잔존가스량을 구하여 사고후의 대처방안을 마련할 수 있는 기능을 제공하도록 하였다. 향후 연구과제로는 원격으로 가스 시설물을 감시하고 제어할 수 있는 원격감시/제어시스템(SCADA System)과 연계를 통하여 가스사고 후에 신속한 피해예측 및 피해를 최소화 할 수 있는 방안제시 및 GPS를 활용하여 신속한 사고처리를 할 수 있는 활용 방안을 연구하여 체계적이고 종합적인 가스사고의 관리가 필요하다고 사료된다. 또한, 사고 후의 긴급 대처방안 뿐만 아니라 잔존가스량을 이용하여 수용가에 가스의 신속한 재공급을 위한 정보의 제공까지 한 단계 발전된 시스템의 개발이 추진되어야 한다.남산지역에 대해 정사영상과 10m간격의 DEM을 제작하였으며 1:1000 수치지도를 통해 제작된 DEM과 비교한 결과 총 43990개 격자점의 표고 차이는 평균 5.98m였다.여재 높이 100 cm에서 원수를 하향류 및 상향류로 주입하면서 하향류 20, 40, 80, 100 cm, 상향류 20, 40, 60, 80, 100 cm에서 시료를 채취하여 분석한 결과 모두 원수가 주입되는 부근 여재 높이 20 cm에서 가장 많이 제거되었다. 상향류 보다 하향류로 원수를 주입했을 때 제거효율이 높았다. $Fe^{+++}$을 $Fe^{++}$로 환원하는 $O^{-}_{2}{\cdot}$의 작용을 대신할 수 있음을 증명하며 이와같은 ascorbate 의존적인 $OH{\cdot}$ 의 생성은 ascorbate가 조직손상에 관여할 가능성을 시사하였다.었다. 정확한 예측치를 얻기 위하여 불균질 조직이 조사야에 포함되는 경우 보정이 요구되며, 골반의 경우 골 조직의 보정이 중요한 요인임을 알 수 있었다. 이를 위하여 불균질 조직에 대한 정확한 정보가 요구되며, 이는 CT 영상을 이용하는 것이 크게 도움이 되리라 생각된다.전시 슬러지층과 상등액의 온도차를 측정하여 대사열량의 발생량을 측정하고 슬러지의 활성을 측정할 수 있는 방법을 개발하였다.enin과 Rhaponticin의 작용(作用)에 의(依)한 것이며, 이는 한의학(韓醫學) 방제(方劑) 원리(原理)인 군신좌사(君臣佐使) 이론(理論)에서 군약(君藥)이 주증(主症)에 주(主)로 작용(作用)하는 약물(藥物)이라는 것을 밝혀주는 것이라고 사료(思料)된다.일전 $13.447\;{\mu}g/hr/g$, 섭취 7일중 $8.123\;{\mu}g/hr/g$, 절식 14일후 $10.612

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Proceedings of the Korea Water Resources Association Conference
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• 2007.05a
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• pp.698-701
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• 2007

지하수 개발가능량 산정을 위한 함양량의 평가는 수문계의 물리적인 형태나 함수층의 수리성 분석 및 수직인 지질분포를 파악하여 어떤 조건하에서 물이 유입 유출되는가를 파악한 후에만 가능하다. 또한 지하수계의 물리적인 형태를 이해함으로써 조사지역의 지표수계나 지하수계의 양계를 통해서 흐르는 물의 양을 결정짓는 물수지 분석이 수행되어야 한다. 이에 따라 강수량, 증발산량, 지하수 유출량, 지표유출량 그리고 하천유출량 등을 수문학적으로 고려해야만 한다. 본 연구는 지표수-지하수 결합모형을 도입하여 분포형 지하수 함양량의 시공간적인 변동성을 파악하는 데 그 목적이 있다. 이를 위해 지표수-지하수 결합모형인 SWAT-K모형을 미호천 유역에 적용하였으며, 지표수의 총유출량과 지하수위의 공간분포자료를 이용하여 검정과 검증을 수행하였다. 전체유역에 대한 연평균 함양량은 수문총량의 약 19%인 것으로 나타났다. 1999년${\sim}$2004년까지의 소유역별 연간 함양량 결과를 월별로 나타냈으며, HRU(Hydrologic Response Unit)별 함양량의 공간분포를 통해 월별, 계절별 특성을 살펴볼 수 있었다. 소유역 모두 강수가 집중하는 7-9월에 걸쳐 많은 함양이 이루어지며 $1{\sim}3$월에는 상대적으로 함양이 적은 것을 볼 수 있다. 월함양량의 경우 최대 약200mm범위내에서 유역의 토지이용 및 토양특성, 경사등에 따라 매우 비균질하게 분포하는 것을 확인할 수 있었다. 이와같은 함양량의 시공간적 불균일성으로 인해 지하수 관리방안은 소유역별 함양특성을 반영해야 할 것으로 판단된다.의 종분산지수가 일반적인 자연대수층에 비해 9.1배 정도 높다는 것을 의미한다. 이는 시험대수층의 투수성이 매우 높아 염소이온의 용질이송이 매우 빠르게 발생되었기 때문이다. 본 연구에서 추정된 종분산지수를 Gelhar et al.(1992)의 연구 결과와 비교 분석한 결과에서도 시험규모에 비해 매우 높은 수리분산이 발생된 것으로 나타났다. 그리고 염소이온의 확산면적을 추정하기 위해, 수렴흐름 추적자시험에 의한 종분산지수와 시험대수층의 평균선형유속을 이용하여 종분산계수를 구하였다. 현장에서 수행된 양수시험에 의한 평균선형유속 22.44 m/day와 평균 종분산지수 0.4155 m를 적용하여 산정된 종분산계수는 $9.32\;m^2/day$이었다. 따라서, 시험부지 내 충적층에서 일정한 양수율$(2,500\;m^3/day)$로 지하수를 개발할 시에 양수정 주변지역으로 유입되는 염소이온의 확산면적은 1일 $9.32\;m^2$ 정도일 것으로 나타났다.적인 $OH{\cdot}$ 의 생성은 ascorbate가 조직손상에 관여할 가능성을 시사하였다.었다. 정확한 예측치를 얻기 위하여 불균질 조직이 조사야에 포함되는 경우 보정이 요구되며, 골반의 경우 골 조직의 보정이 중요한 요인임을 알 수 있었다. 이를 위하여 불균질 조직에 대한 정확한 정보가 요구되며, 이는 CT 영상을 이용하는 것이 크게 도움이 되리라 생각된다.전시 슬러지층과 상등액의 온도차를 측정하여 대사열량의 발생량을 측정하고 슬러지의 활성을 측정할 수 있는 방법을 개발하였다.enin과 Rhaponticin

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.151-162
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• 2015

A theme park is a complex space, in which held is a performance & exhibition event created to make visitors feel fun and a deep impression through a certain theme. Recently, local governments are increasingly planning for theme parks with the aim of local economy revitalization. Accordingly, this paper set up a development model for a Korean culture theme park after deducting success factors for creating a successful theme park through the case of Korean culture theme park. To be concrete, this paper deducted the success factors through literature research and case research as follows: Setting of themes having identity and consistency; programs that can give fun and a deep impression; convenient support facilities reflecting customers' needs; differentiated marketing for progress in customer attraction power; location linked with cultural resources around a theme park and a space for communicating a message; privately-initiated project promotion and the main body of operation; target setting consequent on market segmentation, and demand forecast, etc. A theme park cannot be successfully operated to contribute to local economy revitalization until such success factors should be closely linked and harmonized with each other. In addition, in order for a theme park to make a continued growth, it's required that problems occurring at the operational stage should be endlessly improved, and contents strengthening should be continuously done in line with circumstances of the times and viewers' eye level.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.61-68
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• 2014

Recently, there have been increasing attempts to pursue and express feelings such as sensibilities, emotions, and impressiveness in commercial spaces. One of such methods is to apply 'storytelling' to space designs. Applicability of storytelling to a space suggests that the contents of a space can be expressed through various mediums. Portraying events and situations through a single time continuity of a story is referred to as 'narrative'. The movement of users and sequence of contents are determined by a narrative. It provides different storytelling and a sense of place to each space through various roles, such as wide association, engraving, and image formation. A narrative can lead users to engage in different perceptions and behaviors even in spaces with the same content. Thus, this study is intended to examine the impact of space marketing in line with design narratives, assuming that narratives of commercial space designs will influence the formation of brand identity. The research methods are as follows. First, the definition of narratives in space design was established by examining narrative architectures. Second, design analysis tools for commercial spaces were established from the perspective of narratives through preceding studies. Third, the design narratives of different shops under the same brand were comparatively analyzed through a case study. To carry out a case study, a commercial space of 'O'sulloc' was selected, and its brand identity was studied from the narrative standpoint. The case study involved interior designs of 7 road shops of 'O'sulloc.' Among the 7 road shops, two of them with the biggest difference in design narratives were selected, and an observation survey was done on the users as a second analysis. Through the observation survey, actual design narrative experience was analyzed in 4 steps of introduction, development, turn, and conclusion. The findings are as follows. The design method of each shop varied, and different design elements were emphasized. Among various elements, the ones that reflect the brand identity of 'O'sulloc' the best were logo, product, and shape. During the process of narratives, the characteristics of each shop and user recognition and behavior varied depending on the degree of emphasis on a particular element. It suggests that space design narratives can influence the formation of brand identity. This study provides ideal directions of developing space designs necessary for forming brand identity from the standpoint of Korean traditional culture modernization. Future studies could discuss the economic feasibility of such designs.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.2
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• pp.357-363
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• 2014

The development of information technology grows the society and allows the user to generate more information and the requirements. According to recent growing interest in digital convergence technologies, digital convergence can be utilized by a variety of methods as a new study. Electronic culture atlas would be digitized cultural information that represents a particular area on the map. In detail, spatial data like as point, line, and area can be used to represent the culture information. Using electronic culture atlas, also, it is possible to provide and utilize information which is associated with time, space(map) and subject(culture). Thus, electronic culture atlas could be used as a method for the humanities or area studies and spread research results by displaying on the culture atlas. In general, existing electronic culture atlas used bitmap image mostly as a base map. Using bitmap image, it is difficult to represent to provide three-dimensional information of specific area. Also, it happens problem such as breakage occurs during zoom-in operation. To solve this problems, we design and implement electronic culture atlas based on Google Earth which is three-dimensional map service.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.2
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• pp.40-50
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• 2017

Compared to the traditional format, the revised IPA is an effective method for selecting a management strategy as compared to the traditional IPA. Comparison between the traditional IPA and revised IPA with a management strategy has been, however, limited. Therefore, the difference between the traditional IPA and revised IPA was compared to select an effective management strategy in the Suncheon Bay Wetland Reserve. First of all, related papers were reviewed to select an appropriate revised IPA. It was found that Deng (2007)'s revised IPA was appropriate for quantifying service quality and a management strategy that affects the measurable satisfaction of visitors in the space. Second, the results of the traditional IPA were compared with the revised IPA in the Suncheon Bay Wetland Reserve and the management strategy of the revised IPA and the changes of management factors were discussed. It was found that some management factors deviated from the order of the quadrant "low priority for managers", "Concentrate management here", "Keep up the good work" were moved to the order of the quadrants "Concentrate management here", "low priority for managers" and "Possible overkill" in the revised IPA grid. The complexity as a management factor resulted in higher demand management than the traditional IPA, which moved from "low priority for managers" to "Concentrate management here". Management factors resulted in lower demand management than the traditional IPA moved from "Concentrate management here" to "low priority for managers"; these consisted of shade trees, exhibition exteriors, programs, and a guided tour. Also, management factors moved from "Keep up the good work" to "Possible overkill" consisted of relaxation facilities, glow of the setting sun, a hedge, and an exhibition interior. Over all, the revised IPA responded properly to changes in the measurable satisfaction of visitors to the Suncheon Bay Wetland Reserve. Therefore, a revised IPA should be provided for accurate and reliable guidelines when decision makers establish management strategies.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.