• Journal of architectural history
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• v.26 no.1
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• pp.71-82
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• 2017

Pavilions, follies, and installations provide a place with a new experience beyond that of simple garden architecture. From this point of view, this study tried to analyze the constructs in the Glass House site, which Philip Johnson has built for 50 years. After Chapter 1 Introduction, which summarized the background of the study, Chapter 2 investigated the design background of the landscape and the types of the constructs there. It also, studying literature on pavilions, follies, and installations, defined the basic meanings of them. Chapter 3 identified the features of each construct through the case studies of it, analyzing Johnson's intentions on it. These features are such as the applications of classical follies, the quotations of architectural history, fusion with art, architectural experiments, and the monuments of personal history. In conclusion, this study, finding the site specificity as a common feature of pavilions, follies, and installations, referred to two aspects of this, which are not only physical placeness but also cultural media.

• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.51-54
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• 2008

In this paper, we propose a practical method for displaying 2D/True3D mixed contents in real-time. Many companies released their 3D display recently, but the costs of producing True3D contents are still very expensive. Since there are already a lot of 2D contents in the world and it is more effective to mix True3D objects into the 2D contents than making True3D contents directly, people became interested in mixing 2D/True3D contents. Moreover, real-time 2D/True3D mixing is helpful for 3D displays because the scenario of the contents can be easily changed on playback-time by adjusting the 3D effects and the motion of the True3D object interactively. In our system, True3D objects are rendered into multiple view-point images, which are composed with 2D contents by using depth information, and then they are multiplexed with pre-generated view masks. All the processes are performed on a graphics processor. We were still able to play a 2D/True3D mixed contents with Full HD resolution in real-time using a normal graphics processor.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.147-160
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• 2012

The costumes as an expression system in film are inserted intentionally for a particular purpose. Costumes in film, namely the cinematic dress code, and that in reality are dissimilar in meaning structure. The costumes in film perform a role of a complicated eye-catcher in correlation with the other filmic factors. But the previous studies on the costumes in film are focused on the keywords 'fashion style', 'fashion trend', or 'PPL (product placement)'. In film studies, however, the costumes should be observed from the point of view as semiosis, not as fashion, in other words, from the angle of symbol, icon and index. And the meaning and the process of the communication, which that produce, should be pointed out. It could expose, that costumes play one of the key roles for the developing of narratives and the creating of characters in film. Therefore, this study's aim is to examine the semiosis of costumes in film and to analyse the dress code, dress plot, and dress message in (1990) by Garry Marshall. But this work does not try to indicate the problems of the film-semiotics or to intensify the concept of the semiotic terminology. Thus, this study attempts to approach the theme of costumes in film from the perspective of the semiosis and its meaning process. With this, it has been proved, that semiotic systems are in hiding beyond the conventional forms of cinematic costumes and its natural harmony with characters.