• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.51-61
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• 2012

Kyong-Eui Railway used to be one of the major cross-country railways connecting Busan and Shineuiju. Being the central axis of logistics and transportation in Korea, it also signifies a symbolic meaning of the people's desire for the unification of divided Korean peninsula. A steam locomotive that had stopped in Jangdan Station was bombed out during the Korean War. The locomotive has been neglected and covered with rust in DMZ over a half century, and now is becoming a historic reminder of divided Korea. The initial design approach was based on the three main perspectives of the relocation plan of the steam locomotive in Jangdan Station which is designated as the registered cultural asset no. 78: historical significance, role of a monumental space, and influence on and from the local culture and tourism. Three design subjects were especially highlighted which would represent the identity of the cultural asset, the stream locomotive. First, a vertical watching deck was installed to provide various view points toward the locomotive while ensuring the security of visitors as well as the cultural asset. Second, the Dokgae bride area has good design potentials being on the railway. However, the site is too narrow. Thus, a new ramp and a stairway were placed responding to the existing topography so that the pedestrian environment could be secured last, to respect the local context where the locomotive was originally located, mulberry trees in the locomotive were transplanted as well. Flowering plants were planted around the display area for better ventilation to minimize the negative impact on the locomotive.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.27 no.4
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• pp.212-219
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• 2017

To become a person that is suitable to the 'High-Touch' generation where emotion takes over, we can focus on 6 skill including design, story, harmony, empathy, play, and meaning. Among these skills, harmony with design was chosen as the most important skill. Design can be seen as the basic element of all business, but it will be difficult to match the flow of the future Sensibility and intuitive generation with just the modern design that has been made based on reasonable and objective information and knowledge. This study suggests system and standardization of Sensibility surface processing design that satisfies great quality, attractive quality and Sensibility quality by applying surface processing design of product and Sensibility cognitive factors felt by the consumer by setting differentiated strategy and CMF (Color, Material, Finishing) understanding along with the importance of design materials in primary aspect. By considering the efficacy/characteristic of new surface processing characteristic/differentiation/possibility of implementation according to setting direction of differentiated CMF strategy per type of parts applied to the product, visual surface processing sample was implemented. Through this, it is expected that practical communication connected tool and Sensibility surface processing design's strategic access framework can be applied by understanding and sharing comprehensive elements such as target product, part type, applied material, applied surface processing, surface color, surface texture, and implementing feeling to environments such as designers, CMF designers, surface processing experts, and engineers in IT, electronics, and other areas. when developing a product.

• Journal of The Korean Association For Science Education
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• v.34 no.1
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• pp.21-32
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• 2014

The feasibility of integrated concepts as a key element in designing integrated science curriculum has been investigated by analysing science contents included in performance expectations stated at different grades. The science curriculum of Singapore and the state of Ontario in Canada, and next generation of science standard (NGSS) were selected. Each of them presents theme, fundamental concepts, and crosscutting concepts, which has the characteristics of integrated concepts proposed in the study. Analysis showed that theme, fundamental concepts, and crosscutting concepts were influenced by the characteristics of each curriculum. In addition, science contents related to integrated concepts at different grades varied with the nature of integrated concepts. Based on results, some suggestions were made. First, the total number of integrated concepts should be considered for designing integrated curriculum. Second, the nature of integrated concepts and science contents associated with the integrated concepts should be considered. The integrated concepts should be vast and deep enough in the meaning to contain various content knowledge of different science domains. Third, it should be considered that how the integrated concepts have to be presented at different grades.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.43-55
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• 2001

Living spaces are the results of social environment and also the reflection of the viewpoints by their residents toward human culture and society. Therefore, in studying living spaces, the true essence of the spaces could be easily distorted when cultural and symbolic motives and values are disregarded and only their apparent characteristics are looked into. Hence, it's necessary to simultaneously understand both physical dwelling spaces from architecture's view points and social ideas, simultaneously, of people who form and interact with the spaces. Hence, this paper tries to study housing religion which is one of shamanistic religions which, in turn, have been the fundamental element of ancient religions and came into existence on the basis of dwelling spaces. This study presumes that house religion may have been permeated with its creators' ideas about living and those ideas could be one of those factors which plays a role in organizing of dwelling spaces. As such, with these prior analyses, this thesis attempts to understand the meaning of various dwelling spaces via the characteristics and functionalities of various house spirits which are mentioned in a local house religion and also will find out spatial harmony of Korean traditional living spaces by way of corelations among living spaces, people, and personalized house spirits. Almost all traditional Korean houses have assigned a house spirit to their individual dwelling space. This means a traditional house was considered as a scared space in a secular world called human society and the space was actually intended to protect sacredness of dwelling places from earthliness outside. So when the hierarchy of house spirits in housing religion is projected to a Korean traditional house, it can be shown that a dwelling house as a building was personified to a respectable human status. In other words, it can be concluded that each space was synonymous with a dwelling place for each house spirit and was considered a sacred godly place. In a nutshell, not only each space in a Korean traditional house was a physical and functional space, but also it formed a scared spatial place along with the concept of house spirits intending to ward off disasters and enjoy a comfortable life through those religious symbols and meanings. Housing shamanistic religion which has long been existing with residents and their lives is seeped with the viewpoints of the residents toward life, and hence understanding the meanings and organization of Korean traditional housing can reveal commonly practiced principles of spatial organization of the traditional houses. Therefore an analysis of Korean traditional housing on the basis of humanistic social ideas will help learn Korea's traditional houses which need to be understood in various methods.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Cartoon and Animation Studies
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• s.45
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• pp.1-25
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• 2016

This study aims to study the relationship and narrative structure through types of conscious shown through characters of animation. Regardless of professional knowledge, animation viewers are able to decide sympathy cognitively during watching. There are previous studies examining elements regarding the sympathy felt by viewers, "how much sympathy one feels about the story" conveyed by character is one of the most significant element. "Sympathizing" is reacting to the emotion of character, which does not concentrate on visual phenomenon revealing from appearance and mise en scene, but from "conscious" establishing relationship from behavior and practice. In other words, it starts from in-depth insight regarding the types of conscious and relationship between characters. Therefore, this thesis aims to analyze the types of conscious of main character Simon of Japanese animation which was aired in Korea in 27 episodes, and analyze how it conducted meaning structuralization of relationship with surrounding characters in the growth process of every episode. When analyzing the animation, the study concentrated on analyzing the conscious formation process of character, completeness of relationship and structure rather than the plot or power of delivery of direction, to insist that animation should not only convey humor or fun but secure the in-dept self discernment.

• Cartoon and Animation Studies
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• s.49
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• pp.169-202
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• 2017

In this thesis, we investigate the animation (2001) based on the three phases of the lyrical expression derived from Ye Weiqu's Mono no aware Aesthetic-a Japanese classical aesthetics' perspective, on the aspects of the perceptions of human, world, and nature. By analyzing each component of three phases of Mono no aware Aesthetic, the thesis illustrated that how (2001) utilized and expressed Japanese classical aesthetic and how Japanese classical aesthetics were widely utilized into modern Japanese animations. Moreover, the thesis also stated that Mono no aware Aesthetic has become a creative element in order to answer a development direction with future Japanese animations. Through integrating Japanese unique classical aesthetics into the animation elements, Satoshi Kon, the director of the animation, well carried and expressed the cultural content of Japanese nation, thus promoting a deep understanding of characteristics for Japanese animation which have a wide appeal. In his masterpiece -, the characters building, plot describing, theme expressing, cultural meaning could be analyzed respectively by means of Ye Weiqu's 3 phases of Mono no aware aesthetic, reflecting how inherited the legacy of Japanese classical aesthetics. Furthermore, based on the analysis method, the animation contributed tremendously to Japanese classical aesthetics and Mono no aware aesthetics. Tradition for classical aesthetics could play a role as a creative tool for contemporary and future animation.

• Journal of the Korean association of regional geographers
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• v.16 no.4
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• pp.387-399
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• 2010

This study, using Fractal theory, aims to examine the meaning in the aspect of urban spatial structure by reflecting the characteristics of elements organizing the urban space and at the same time measuring the urban form quantitatively. By calculating Fractal Dimension to Cheongju as a target, it conducted comparison and analysis by dividing building and road which are internal element of a space into the whole city and urbanized area to compare and analyze validity of the theory application and the inside of an actual urban space. For the method of an analysis, it calculated Fractal Dimension by linking a digital map including the property of building and road with GIS program and using box counting. An analysis result showed that the result value of Fractal Dimension by structure and road is all high and similar. It drew a similar result value from the whole Cheongju and the urbanized area as well, but commercial and industrial area showed low result value from the partial viewpoint. However, it is correct to regard these spaces as one space because they are intimately connected with a residential area. From the general viewpoint, it could be said that Cheongju's Fractal Dimension grows in the context of a urbanized area.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• Archives of design research
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• v.16 no.1
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• pp.63-72
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• 2003

The purpose of this study is to understand the character of concerned local area through using roadside space that is space for daily experience of citizen as target, extracting symbolic image reconsidering the historical and cultural character and clarifying the local identity on the basis of it. Through applying image of local symbolism and future-oriented roadside to street furniture, I tried to express local symbolism and through composing symbolic roadside of local that can be newly recognized as unique street, I tried to give a local symbolism and compose active roadside environment. Through providing basic material and actual design example, this paper tried to activate characterized local culture. As the method to approach design of symbolic roadside, the researcher divided local symbolic image into present local image and future-oriented image through selecting the roadside that historical element is lost and urbanization is achieved as target. The researcher characterized local roadside, using street furniture as symbolic tool of future-oriented roadside on the basis of symbolic image extracted from image evaluation testing. This paper has the meaning to suggest one direction for extracting symbolism when organizing distinguished roadside through applying symbolic image to roadside environmental facility, helping for of local resident's sense of place, his self-esteem and love for his hometown and public authority's establishing and promoting the policy concerned to the context of this paper.