• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.3
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• pp.50-57
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• 1999

This study aim to clarify the way of spatial composition of Tongdo Temple by diachronic analysis. The way of spatial composition was clarified through the analysis of built in architectural system in three periods. The result are as follows; 1. Spatial composition of Tongdo temple was changed in three period that it were establishment period, 1300s, and 1700s by the transition of meaning structure occurring the transition of spatial composition. 2. It was found out that the wat of spatial composition was three through the diachronic analysis the transition of spatial composition in Tongdo temple. 3. Juxtaposition as a way of spatial composition found out through the diachronic analysis is equivalent articulation of three sections; an upper, a middle, and a lower section and polyaxis or polycore in the each sections. Fusion is heterogenetic minglement mingling different kind of buildings and conjugation conjugating different kind of decorations. And accumulation of layer is mutilayer laying different time of layer and multi aspect aligning different kind of aspects since the temple's establishment.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.154-155
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• 2004

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2012.05a
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• pp.207-208
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• 2012

• Journal of Chest Surgery
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• v.20 no.4
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• pp.751-759
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• 1987

We have experienced 4 cases of modified Fontan operation for Tricuspid atresia type III from February 1983 to May 1987 at the department of Thoracic 8 Cardiovascular Surgery, Seoul National University Hospital. There were 3 cases with left juxtaposition of right atrial auricle. The operatic mortality rate was 25% [one case death].

• Journal of the Korean Society of Costume
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• v.40
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• Journal of the Korea Computer Graphics Society
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• v.12 no.1
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• pp.9-15
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• 2006

본 논문에서는 점묘화를 생성하기 위한 회화적 렌더링 기법을 제안한다. 신인상파(Neo-Impressionist) 화가 쇠라는 캔버스위의 독립 색채들은 망막위에서 재조직된다는 이론을 바탕으로 점묘화를 제안한다. 이는 색의 병치혼합과 보색대비를 이용해 빛의 가산혼합이 회화작품에 적용될 수 있도록 하기위해 브러시 스트로크로 작은 점을 이용한다. 이러한 점묘화를 표현하기위해서 쇠라의 작품과 동시대의 색이론 분석을 통해 색의 분할과 병치혼합의 이론적 배경을 알아보고 이를 통해 점묘 스트로크의 색상, 모양, 방향등을 결정할 수 있는 알고리즘을 소개한다. 먼저 신인상파의 팔레트 분석을 통해 칼라모델을 설계한다. 그리고 입력영상을 영상분할 기법을 이용해 공간적 구도를 잡고 각 분할 영역의 관계를 고려해 색상을 할당한다. 각 할당된 색은 보색과 함께 정의된다. 각 분할영역은 해당영역에서 표현될 수 있는 색상의 작은 점묘 브러시 스트로크로 렌더링이 된다. 이때 입력영상의 밝기정보를 유지할 수 있도록 점묘 스트로크는 색상이 결정된다. 점묘 스트로크의 방향은 입력영상의 에지방향을 따르도록 보간법을 이용해 계산한다.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.5
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• pp.626-636
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• 2004

The purpose of this study was to show a theoretical system of expressional area, the characteristics and the effects which is applied to fashion illustration by metaphor theory. The theoretical system of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: Metaphor in fashion illustration was categorized to replacement, parody, heterogeneous combination, surrealism, magnification and reduction of size, optical illusion, juxtaposition and distortion of form. In detail, First, replacement was showed omission of form, non-object color, texture. Second, parody was showed using the part in artistic work, differentiation of original work. Third, heterogeneous combination was showed unreal body combining between animal and plant. Fourth, surrealism was showed creation of object which is impossible to present. Fifth, magnification and reduction of size was showed bizarre magnification of part of body, size of clothing. Sixth, optical illusion was showed ambiguity of object because of creation of new form. Seventh, juxtaposition was showed the parallel of contradicting idea and change of meaning between heterogeneous objects. Eighth, the distortion of form was showed grotesque distortion of part of body and disgusting object.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.59-74
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• 2013

Post-modern society leads us to accept diversity and variability instead of pursuit of the absolute truth, beauty or classical value systems, thus leading to hybrid phenomena. The purpose of this study is to analyze characteristics and expressive effects of hybrid expressions through which to provide conceptual bases for interpreting expanded meanings of fashion illustrations that express aesthetic concepts of hybrid culture. Hybrid refers to a condition on which diverse elements are mixed with each other, so any one element can not dominate others. It is often used to create something unique and new by a combination of unprecedented things. Hybrid can be classified into four categories: temporal hybrid, spatial hybrid, morphological hybrid and hybrid of different genres. Temporal hybrid from a combination of past and present in fashion illustration includes temporal blending by repetition and juxtaposition. Spatial hybrid shows itself in the form of inter-penetration and interrelationship by means of projection, overlapping, juxtaposition and multiple space. Morphological hybrid expresses itself through combination of heterogenous forms and restructuring of deformed forms. Hybrid of different genres in fashion illustration applies various graphic elements or photos within the space, and represents blending of arts and daily living. Such hybrid expressions in fashion illustrations reflect the phenomena of diversity and variability of post-modern society. Hybrid expressions in fashion illustrations predict endless possibility of expressing new images through combining various forms or casual elements and can develop toward a new creative technique.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.130-141
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• 2012

This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

• Journal of the Korean Home Economics Association
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• v.50 no.7
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• pp.67-79
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• 2012

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer's own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.