• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.210-215
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• 2007

In terms of cultural history, museum architecture represents culture of society in an era. exhibition space which represents the society and culture can't be fixed in the same way in a current mobile era. Especially, mobility of exhibition can be able to give audience even opportunities to enjoy. As a result, mobile exhibition space that functions as total space for everybody and the study of this issue is necessary. As mobile exhibition space is in the middle of development, there are many things to make up for the weak points. In order to make mobile exhibition space more competitive, development of new form and material is needed most. besides, limited development on interior plans which has been overlooked in terms of mobility is needed. Also, there should be more aggressive and powerful marketing and promotion for mobile exhibition space. To equalize the metropolitan area and local exhibition space and revitalize domestic exhibition space, the utility of mobile exhibition space which is movable and economic is highly expected more than previous fixed exhibition space.

• 한국의상디자인학회지
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• 제13권3호
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• pp.55-67
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• 2011

The purpose of this study is exploring the expressional characteristics of organic fashion design different from the past by analyzing the expressional characteristics of organic fashion design dependent on the digital paradigm and simultaneously suggesting the theoretical data required to understand the changing trend of organic design in relation to the paradigm of the age. The results of the research is as follows; The expressional characteristics of organic fashion design according to the digital age appeared to have same aspects. Pluralism respecting multi-culture, hybrid of multi-meaning image, circulation that can consistently circulated, non-hierarchical post-structure, de-boundary through dissolution of genres, digital nomad considering mobility, human centered through significant sensitivity, de-materialization of assimilation between reality and non-reality, conceptualization given the concept of designer, technology combining with digital technology. This study found that organic fashion design in the digital age has the same conceptual context as periodical paradigm freely circulating consistently by organically combining each individual. This can be understood as the trend of design implied in conceptual context that organic fashion design requires periodical paradigm.

• 환경정책연구
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• 제12권3호
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• pp.73-96
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• 2013

중앙아시아지역의 기후변화적응 이슈를 유목문화의 역동성 측면에서 접근하고 있으며 이를 통해 중앙아시아 지역의 기후변화특성에 적응하는 개도국 기후변화 정책수립 이슈를 다루고 있다. 건조하면서도 혹한과 혹서가 반복되는 중앙아시아 지역의 기후특성은 지구촌 어떤 곳보다 기후변화로 인해 심각한 영향을 받고 있다는 문제의식에서 출발하고 있다. 기후변화 영향에 적응하는 유목문화적 역동성(dynamics) 요소를 수자원(water resource), 가축(livestock), 초원(pastureland)을 중심으로 살펴보고 있으며 유목민의 문화적, 기후적 특성에 기초한 적응정책을 탐색하고 있다. 아울러 기후변화 영향 및 적응에 있어서 중앙아시아 지역의 유목문화적 특성이 갖는 이중적 의미로, 오랜 기간 잦은 이동과 새로운 환경에 적응해온 유목민들의 라이프 스타일이 기후변화에 있어서도 우수한 적응 잠재 능력을 발휘할 수 있음에도 주목하고 있다.

• 복식
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• 제53권8호
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• pp.91-104
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• 2003

This study describes not only meaning of transformable, i.e., new paradigm being expanded since the 1990's, but also nomadic thoughts being formation background of transformable. In this study, the concept of ‘transformable’ has dictionary definition and theoretical background expressing art, architecture and products, etc. The author has examined relations between nomadic thoughts and ‘transformable clothing’ by investigating the works of transformable clothing designers including Lucy Orta. The ‘transformable clothing’ means ‘clothing being transformable to meet some purposes’. Considering nomadic thoughts, 1.e., one of formation of transformable, the transformable clothing with nomadic thoughts can be transformed in various ways by usefulness and removal. The clothing has features of removal, escape and protection and has the values that can adapt itself to social circumstance and environment through the module system of separation, taking to pieces and assembling, etc. to suggest resonable clothing. Such a clothing cannot be settled down so that it shall be developed to let modern people move continuously as the 21th century nomad between real world and virtual world. However, this study did not examine internal meaning sufficiently because of main investigation objects of external expression, and was limited to nomadic thought at formation background. To improve such things, another study will be made in the future.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.68-77
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• 2013

'The Third space,' which is the concept that embraces sociological, spatial, and marketing concepts, refers to the place which is other than the home and the workplace and which is a comfortable frequented place where meditation, psychological relaxation, and social needs can be satisfied. 'The Third space' has the characteristics of comfort, openness, interactivity, playfulness, and diversity. In modern times, most of consumption spaces play the role of 'the Third space,' and the typical example is $Caf{\acute{e}}$. $Caf{\acute{e}}$ began from its origin with the characteristics of 'the Third space,' and recently it has become the complex cultural space of urban dwellers. $Caf{\acute{e}}$ as 'the Third space' has the characteristics of a healing space, communication space, personalized space, value-expressive space, culture and consumption space, nomad space. Such characteristics of $Caf{\acute{e}}$ are well represented in the cafes around the regions where 'street culture' has recently been formed. As examined through the examples, $Caf{\acute{e}}$ as 'the Third space' can be more strategically produced by establishing themes through storytelling, giving spatial identity through style creation, diversifying the sequence through complex space organization, and establishing interaction devices through experience elements.

• 로봇학회논문지
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• 제11권3호
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• pp.172-182
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• 2016

Lane-level vehicle positioning is an important task for enhancing the accuracy of in-vehicle navigation systems and the safety of autonomous vehicles. GPS (Global Positioning System) and DGPS (Differential GPS) are generally used in navigation service systems, which however only provide an accuracy level up to 2~3 m. In this paper, we propose a 3D vision based lane-level positioning technique which can provides accurate vehicle position. The proposed method determines the current driving lane of a vehicle by tracking the 3D position of traffic signs which stand at the side of the road. Using a stereo camera, the 3D tracking paths of traffic signs are computed and their projections to the 2D road plane are used to determine the distance from the vehicle to the signs. Several experiments are performed to analyze the feasibility of the proposed method in many real roads. According to the experimental results, the proposed method can achieve 90.9% accuracy in lane-level positioning.

• Journal of Forest and Environmental Science
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• 제29권2호
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• pp.131-137
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• 2013

This study attempts to classify forest species using hyperspectral data for supporting resources management. The primary dataset used was AISA sensor. The sensor was mounted onboard the NOMAD GAF-27 aircraft at 2,000 m altitude creating a 2 m spatial resolution on the ground. Pre-processing was carried out with CALIGEO software, which automatically corrects for both geometric and radiometric distortions of the raw image data. The radiance data set was then converted to at-sensor reflectance derived from the FODIS sensor. Spectral Angle Mapper (SAM) technique was used for image classification. The spectra libraries for tree species were established after confirming the appropriate match between field spectra and pixel spectra. Results showed that the highest spectral signature in NIR range were Kembang Semangkok (Scaphium macropodum), followed by Meranti Sarang Punai (Shorea parvifolia) and Chengal (Neobalanocarpus hemii). Meanwhile, the lowest spectral response were Kasai (Pometia pinnata), Kelat (Eugenia spp.) and Merawan (Hopea beccariana), respectively. The overall accuracy obtained was 79%. Although the accuracy of SAM techniques is below the expectation level, SAM classifier was able to classify tropical tree species. In future it is believe that the most effective way of ground data collection is to use the ground object that has the strongest response to sensor for more significant tree signatures.

• 한국실내디자인학회논문집
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• 제26권3호
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• pp.34-44
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• 2017

Korean-Japanese architect Itami Jun that proceeded with primeval architecture based on analogue ideas in the digital era realizing nomad architecture is delivering a totally different meaning in the modern time. Not like the Japanese architectural community equipped with rich technologies showed state-of-the-art architecture after 1980s, Itami Jun' formative consciousness intending to assimilate nature from the original position of things is thought to have started from the relationship with Korean-Japanese painters leading MONO-HA desiring to look at the world as it is and approach the source of existence. The purpose of this study is to analyze the spatial characteristics from the viewpoint of 'Theory of Meeting' which is the essence of the work theory of Lee UFan that made the theoretical foundation of MONO-HA to understand Itami Jun's architectural space in the ideological aspect. Although the characteristics of marginal men appearing in Itami Jun's architectural space as others located on the boundary between Korea and Japan, art and architecture, and functions are valuable research objects, they have not been studied in the aspect of source, so it is needed to research his works and the source of the spatial ideas that led his works. Based on Theory of Meeting claiming that the world becomes the place of experience by the medium of objet which is the structure of meeting, and that human beings can meet the truly opened world by self-awareness through body, the expressive characteristics of Itami Jun's interior space was analyzed. As a result of the analysis, it turned out that Itami Jun's interior space actively expressed Theory of Meeting on the unity of structure and space, and on the trans-boundary by the medium of objet. Conclusively, this study suggests that, in the reality of the modern interior design full of technology-intensive designs, analogue approach moving in the opposite way from technologies could be a better expressive method of design delivering the fundamental human emotions.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.59-66
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• 2010

The purpose of this study is to examine how the perception of lives and studies in the Joseon Dynasty period, and the concept of its sculptures can be reflected in Korean traditional pavilion place, from the perspective of Nomadism as a western philosophy of this era. Nomadism literally refers to way of life of peoples who do not live continually in the same place but move cyclically searching for temporary centres whose stability depends on the availability of food and water supply or pastures for their livestock. In recent years, the term encompasses three general types: job nomads, digital nomads and ubi-nomads, which represent distinct features of modern society. Its concept implies looking for the new creative possibility through the liberation of desire and the breakaway to another thinking through continuous formation and transformation. Likewise, Korean traditional pavilion is the architecture to take a quick rest while walking in the mountains. This open place thus connects surroundings with people who are allowed to assimilate with nature as well as train their mind by following the law of nature, in order to finally reach the celestial state of mind. Knowing how to see, enjoy and appreciate the arts very close to nature, our ancestors were able to learn aesthetic activities. After recognizing Korean traditional pavilion as the potential place of unification of heaven and men which is Korean scholor's lifestyle and outlook on the world, this study accordingly will identify the value and meaning of Korean traditional architecture according to Nomadism in the occidental point of view.

• 복식
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• 제56권2호
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• pp.134-146
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• 2006

Modern society is a multi-cultural consumer society, and there are multiple trends to cater to the tastes of diverse consumers with different sociocultural background. To grasp fashion trends in fast-changing society, how consumer life is changing and what sort of trend is prevailing should be understood above all. A major fashion trend keeps on changing in every season, and that is an extensive and compound measure of what affects the lives and values of cultural receivers who take the lead in it. The purpose of this study was to delve into what sorts of trends were presented in the 21st century's different cultures, how those cultures were reflected in fashion trends, and how design elements predicted by fashion trends could serve as the sources of design that could create a new fashion. The findings of the study were as follows: First of all, the theories of popular culture and trends were reviewed to describe how general receivers found meaning and delight in the products of cultural industry in their own way and how the products were converted into diverse cultural media. Secondly, consumer styles were discussed by classifying consumers into six groups, twixter, duppie, Ubi-Nomad, NONOS, LOHAS and chav, who were generated by changing cultural codes. Thirdly, sociocultural trends and consumer changes brought a lot of diverse changes to fashion trends. The visual materials about the 2005 S/S, F/W Collection were examined to track how changing trends affected fashion style.