• Smart Media Journal
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• v.11 no.8
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• pp.37-46
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• 2022

In the design process of modern architecture, diagrams are most commonly used as tools of explanation and creation. Many architects use diagrams in the process of explaining or creating their own works, and the concept of programs and diagrams expressing them are accepted by audiences as part of creative work in the process of actual architectural design beyond the role of a medium. Therefore, the purpose of this study is to analyze the various uses of architects through diagrams in the construction process and the operation process of diagrams applied in the design process by defining diagrams by era as a tool to show the process of building space over the past 30 years.

• Archives of design research
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• v.19 no.1 s.63
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• pp.201-214
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• 2006

Modern society is an age of vagueness and confusion. In addition, vagueness, complexity and variety are seen throughout art including modern philosophy, literature, and environmental design. A phenomenon like this shows that modern society has integrated different components as an organic relationship frequently crossing the boundary of fields. This feature can be regarded as hybrid related with accepting contradictory components and binding them into one under relationship between part and whole. As new design concept, presented are attitude to accept the two instead of attitude to select one of the alternatives, abundance instead of dearness, and ambiguity instead of simplicity. This principle has a crucial influence on creative design providing opposing contradiction and several alternative plans as non-deterministic form not completed one and, above all, useful information in mutual dependence and mutual relationship. When it comes to hybrid, therefore, a strategy is needed to consider layer of several fields getting out of standardizing space into a single space. As an event of this situation and concept, space experience means behaving freely based on experience of users' body. It can be known that this experience brings about users' more dynamic experience in comparison with the experience of seeing environmental design from a viewpoint of visual ism on the existing simplicity. Such a practical experience is subjective, synesthetic, and non-observational one. Therefore, hybrid has brought active users to the stage, which is distinguished from synesthesia felt through body's experience, not through observational attitude and visual space which achieve former balance and harmony with non-determination. That's because hybrid creatures are turning to a product resulted from creative imagination instead of from reappearance which makes text visualized. Such experience performed by user's active participation collapses the boundary between special elite-centered art and daily life and it is the present progressive form showing creation process of future events and new esthetic experience.

• Archives of design research
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• v.17 no.2
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• pp.43-54
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• 2004

The appreciation of cultural properties related with what the aspects of society was is mandatory to understand our culture correctly. To make over all cultural properties to our descendants without breakage or damage is our natural duty and national obligation. On the contrary, inhabitants in the preserved area should be restricted and controlled by the cultural property law. The conflict between the inhabitants in the preserved area and the government raises economical problems and damages all the time. Especially it is time to discuss to mediate between them and solve the problems. This feasible study is a proposal to settle them up through renovating abolished school in the preserve area to the museum and a case to preserve the cultual properties as well as habitant's assets in that area.

• Archives of design research
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• no.16
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• pp.101-110
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• 1996

CHOOSA GORACK which is a typical example of traditional houses in the CHO SEON dynasty consists of the four terraced builfing group. Among those,SADANG CHAI are located in the highest level,and SADANG CHAI and SADANG CHAI are toward south direction.It means that building orientation and level were influenced by the distinction of social level and the idea of ancester worship. Floor and ceiling level in the same building is different which was caused by the distinetion of social level in the CHO SEON dynasty and an ariental dual as a variety of openings,exposed ceilings,and furniture against a wall were creating a typical Korean visual harmony. Although the furniture and equipments were very important elements in ONDOL BANG the occupance ratio of these were low because the free space in BANG should be utilized effectively to accommodate the space variation.Both an AN CHAI and SARANG CHAI were composed by the standard space module called KAN.And interior elements were established by several factors such as the human scale,the behavior pattern in traditional sitting life style, and the lumber size of post and lintel construction of Korean house.BANG and DAE GHUNG, composed of KAN,were expanded and arranged side by side so that the natural light and ventilation through them could be used in the result of the kind of lay out,traffic circulation was disturved.In conclusion,CHOOSA GOTACK was formed by the sirect effice of the KOREAN penisula. However this study was based on one sample. It may not enough to deduct soild conclusion.Therefore continuous and farher study is needed for the sestemane evaluation.

• Journal of the Society of Disaster Information
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• v.15 no.2
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• pp.175-185
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• 2019

Purpose: The purpose of this study is to propose a direction planning integrated waterfront cultural city in terms of urban economic revitalization through regeneration of former industrial harborfront and the creation of cultural living spaces based on regional history in order to pursue urban activities. Method: Analyzing planning waterfront and historical cultural space based on MM21's development policy and strategy under the growth process and development of Yokohama. Results: MM21 is the core public project out of the six major projects promoted by Yokohama, which is on the brink of satellite cities for the expansion of Tokyo with a goal of qualitative transformation of former harbor. It is planned to be developed as a creative cultural waterfront city for an integrated urban development. Conclusion: Planning waterfront cultural city, which takes advantage of the former harbor city derived through MM21 analysis, provides the cityscape towards the sea and the port via the viewing point and opens the waterfront open to the port and the sea Space and Esplanade landscape development, preservation of historic buildings and cultural assets, recycling as cultural art space, waterfront space planning that cooperates with public culture art and pedestrian network.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.58-66
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• 2022

Biophilic design is an approach that attempts to connect people with nature to promote health, recovery and restoration processes. The purpose of this study was to systematically analyze restorative factors and characteristics of Soswaewon by applying a biophilic design analysis framework. To this end, a biophilic design classification system was established and content analysis and frequency analysis were conducted for 『Soswaewon 48 Young』. the ratio of plant words including bamboo, pine, and plum was the highest, and words related to dynamic water flow or interaction with water as well as various water types such as streams, waterfalls, and ponds were also high. appeared in rank. In addition, multisensory factors, seasonal changes, microclimatic factors, emotional elements that allow people to indirectly experience nature were expressed in various ways. The space layout and circulation provide opportunities to appreciate and experience the rich sensory resources of Soswaewon. In conclusion, this study confirmed the healing and restorative value of Soswaewon from the perspective of biophilic design, and it needs further research on the restorative factors of traditional spaces.

• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• Archives of design research
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• v.18 no.3 s.61
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• pp.63-74
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• 2005

Modern society is diversified society and is under complicated situation as the boundary of each area has been disappeared. To understand and accept such complicated situation as widely as possible, it is required to understand interaction. of receiver with intertextual environmental arts as the structure of open text. This study examined interaction of environmental arts in terms of intertextual feature based on experience of receiver on combined element of different space and time, combination of genres. This is the concept of meaning personal experience or situation as receiver participates the process of completing art works, and set the fantasy, post-place and speciality of location and temporal-spatial expression method, as characteristics of intertextuality. Features of such experience elements are used as methodology of analyzing characteristics of each work. Feature of fantasy uses strategy of inducing spatial experience of receiver with dematerialization for post-place and expands the place where events occur with intervention of contingency and event situation. It suggests the spatial-temporal expression method as the features focusing on process and reflecting changes in spatial-temporal continuum and speciality of place emphasizing context of place. In conclusion, environmental arts needs to be deep rooted on complicated existence aspect of receiver beyond metaphysical dimension depending on presence and to accomplish conversion of awareness of supplying bisection of life from that place. By doing so, environmental arts can live textual life as it gets together with all other texts in terms of text dimension and creativity can be reborn as practical creativity in intertextuality rather than uniqueness. Such combination with other areas and acceptance of various aspects of receivers who see and experience this will result to creation of open works which can be create newly over and over again in multi-dimensional aspects.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.50-73
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• 2009

Recently old stone walls were designated as registered cultural properties that meant an extension of categories about cultural properties from a spot area to whole area. Moreover given the changing situation of residential pattern, which is due to rapid social change, this designation can be seen as a significant measure to keep as intact as possible traditional landscapes in agricultural and fishing villages. In this paper, I analyze the symbol system and meaning of old stone walls and attempt to pick out the cultural elements which are related to them. These days we have made efforts to various aspects for which make traditional cultural resources into cultural contents. But many studies had done before emphasized aspects for beauty only. Especially existing studies about an old stone wall was mainly focused on architectural interpretation and tourist route. So we need to build a plot around oral research and need a creative approach for sharing with tourists. Cultural contents combine the original form, potential and capabilities with media by detecting original form of culture and finding out the worth and meaning. In this paper examined the probability of using by investigating a stone wall in Sang-hak Village that is related with recovering of places to live in contemporary society and finding cultural contents. I suggest more creative ways to make cultural properties into tourist resources by considering the possibilities of place marketing using storytelling, based on an analysis of data gathered.

• Journal of Korean Society of Coastal and Ocean Engineers
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• v.29 no.5
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• pp.217-227
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• 2017

The object of this study is to estimate the net volume transport and the residual flow that changed by space and time at southern part of Yeomha channel, Gyeonggi Bay. The cross-section observation was conducted at the mid-part (Line2) and the southern end (Line1) of Yeomha channel for 13 hours during neap and spring-tides, respectively. The Lagrange flux is calculated as the sum of Eulerian flux and Stokes drift, and the residual flow is calculated by using least square method. It is necessary to unify the spatial area of the observed cross-section and average time during the tidal cycle. In order to unify the cross-sectional area containing such a large vertical tidal variation, it was necessary to convert into sigma coordinate system by horizontally and vertically for every hour. The converted sigma coordinate system is estimated to be 3~5% error when compared with the z-level coordinate system which shows that there is no problem for analyzing the data. As a result, the cross-sectional residual flow shows a southward flow pattern in both spring and neap tides at Line2, and also have characteristic of the spatial residual flow fluctuation: it northwards in the main line direction and southwards at the end of both side of the waterway. It was confirmed that the residual flow characteristics at Line2 were changed by the net pressure due to the sea level difference. The analysis of the net volume transport showed that it tends to southwards at $576m^3s^{-1}$, $67m^3s^{-1}$ in each spring tide and neap tide at Line2. On the other hand, in the control Line1, it has tendency to northwards at $359m^3s^{-1}$ and $248m^3s^{-1}$. Based on the difference between the two observation lines, it is estimated that net volume transport will be out flow about $935m^3s^{-1}$ at spring tide stage and about $315m^3s^{-1}$ at neap tide stage as the intertidal zone between Yeongjong Island and Ganghwa Island. In other words, the difference of pressure gradient and Stokes drift during spring and neap tide is main causes of variation for residual current and net volume transport.