• 한국산학기술학회논문지
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• 제20권3호
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• pp.168-175
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• 2019

본 논문은 인간의 다양한 활동이 펼쳐지고 있는 공간과 장소의 특징에 따른 유기적 관계의 현상을 살펴보는데 목적을 갖고 있다. 그에 따른 인간의 다양한 경험의 확산과 상호구축망을 형성하는 공간과 장소의 상호작용은 개인 또는 집단적 경험의 확장성을 마련하는 계기를 조성한다. 인간 활동의 상호작용을 이끌어내는 공간과 장소는 다양하게 표출되고 있다. 특히, 국내 여행프로그램을 통해서 공간과 장소의 표현방식은 다양한 '경험의 장'으로 확산되고 있는 추세이다. 그에 따른 여행프로그램의 구성과 표현방식은 기존의 기행적 스타일을 벗어나 생각하고, 사고할 수 있는 '체험의 장' 문화의 형성을 통해 공간과 장소가 단순한 경험이 아닌 사유의 대상으로 변모되고 있다. 그러므로 본 연구에서는 MBC 플러스 채널의 <어서와 한국은 처음이지?> 여행 프로그램을 통해서 표출되고 있는 공간과 장소성이 갖고 있는 체험을 통해서 표출되는 사회문화적 관점에서의 특징을 살펴보았다. 본 연구의 스토리 전개구성 분석결과는 공간과 장소의 체험은 음식과 커뮤니케이션의 삼중적 관계에 따른 다양한 문화적 할인의 경계가 최소화되는 것으로 나타났다. 또한 미이어 소통 구조의 분석결과는 주체와 대상간의 공감상황, 공감주체, 공감도구, 공감내용을 통해서 리얼리티의 효과를 극대화하고, 문화적 차이와 경계의 간극을 최소화하는 과정을 통해서 수용자의 감성코드를 전달하는 것으로 분석된다.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.11-21
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• 2010

The purpose of this study is to examine the design characteristic of the facade of the main adminstration building in university. The main administration building which is a basic of educational facilities has various administration setups, such as the register's office, the student affairs section, the planing department, the general affair's office and so on. This building performs academic, administration, facilities management, and admissions service. Also, the building has an ideological, historical, and symbolic image, having an organic relationships with the other educational facilities. This study choose one hundred seven universities, except universities that does not provide information easily and the second campus which does not have the main administration building, as the subjects of the study. The analysis is derived from the design elements applied to facade design of the main administration building and this is divided into design principles(balance symmetry, contrast, rhythm), the formal composition(geometrical, linear), and the style of architecture(classical architecture and modern architecture). The results of the research are summarized as follows: The design characteristic of the facade of the main adminstration building in university has chronologically changed. First of all, in the 1940's, symmetry emphasized on the center of building, superimposition, division, pediment, and arch were marked. Then, superimposition was prominent in the 1950's and symmetry emphasized on the center of building was shown in the 1960s again. Flat roof was in the 1970's, 1990s and 2000's. Finally, pediment was dominant in the 1980's. The design elements of the main administration building can be samples of chronological styles of architecture. Facade design, with proper design of the past and recent times, includes the meaning that achieve the great purpose of the university by emphasizing visual images.

• 대한지리학회지
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• 제45권1호
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• pp.184-200
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• 2010

대동여지전도는 표기된 지명과 "대동여지도"와의 관련성으로 볼 때 1861년대에서 1866년 사이에 제작된 것으로 추정된다. "대동여지전도"는 일부에서의 주장처럼 내용이 조잡하고 오류가 많은 지도가 아니라 오히려 "대동여지도"의 표현기법을 활용하면서도 최신의 정보를 수록하고 있으며 도리(道里)의 표기에서는 19세기의 대표적인 목판본 지도인 "해좌전도"보다 훨씬 뛰어나다. "대동여지도"가 군사 행정적 목적에서 제작된 관부용(官府用)지도라면 "대동여지전도"는 군사 행정적 사항뿐만 아니라 사회 경제적 내용들도 많이 반영된 대중용 지도라 할 수 있다. 아울러 "대동여지전도"에는 당시 사람들이 지니고 있던 산천인식 체계가 잘 반영되어 있는데, 국토를 살아있는 생명체에 비유하는 유기체적 관점이 지도를 관통하고 있다. 또한 산수분합(山水分合)의 원리가 지도상에 잘 구현되어 있으며 도로망과 거리의 표시, 호수(湖水)영향권의 표시 등은 현대지도에 견주어도 손색이 없다.

• 한국주거학회논문집
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• 제19권2호
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• pp.115-124
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• 2008

This study explores the beneficial methodology to increase cultural values of urban style Hanok, Korean traditional residence. Based on the literary geographical approach, this study defines the physical identities of special Bukchon Hanok area in Seoul. The explored physical identities are to provide basic fundamentals for supplying and maintaining new Hanok buildings, including how to preserve and restore the traditional Hanok areas. They are also to develop various Hanok related cultural products and to encourage Hanok popularization. In addition, this study is to add more the humane values and significances to the previous relevant researches. With these perspectives and through above mentioned methodology, the study draws the physical identities of Bukchon Hanok area and meanings as belows: The first one is the collective identity. Bukchon Hanok area is mainly composed of organic spaces with its collective scenary. Narrow alleys and curved lanes created by collective gaps between Hanok buildings, provide residents and visitors with abundant choices of moving path. The second one is the formal identity. Bukchon Hanok maintain their unique layout patterns. The basic units of Chae are combined in specific ways such as 'ㄱ', 'ㄷ', 'ㅁ' types and result typical formal expression of the area. The third one is grounding identity which represent the relationship between the earth and every-day living space. Each Chaes of house always surround Madang, Korean traditional court yard with rare vegetation. And the connection to the ground is transferred to the memories of its dwellers. Lastly, the current Hanok still preserve similar characteristics of past time Hanok such as materials, structure and styles by using unique building technics and exposing traditional ornamenting styles.

• Journal of Biosystems Engineering
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• 제39권3호
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• pp.235-243
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• 2014

Purpose: The aim of this study was to prepare and evaluate a natural material extracted from germinated brown rice (GBR). Herein, we evaluated whether the natural material could positively activate the biological effects seen during bone formation, including enhancement of metabolic activity, osteogenesis, and the expression of vascular endothelial growth factor (VEGF), one of the growth factors in human osteoblast-like cells. Methods: The natural material was created by a hot water extraction process after being soaked for 2~3 days in tap water and dried at $50^{\circ}C$. The material was characterized using field emission scanning electron microscopy (FE-SEM), energy dispersive X-ray spectroscopy (EDX), X-ray diffraction (XRD), and Fourier transformed infrared (FTIR) spectroscopy. The biological behaviors of the material were also investigated; we performed tests to assess cell cytotoxicity, metabolic activity, osteogenic markers related to bone formation, and VEGF. Results: The EDX, XRD, and FTIR results for the natural material indicated the presence of organic compounds. The natural material caused positive increases in cell metabolic activity and mineralized bone formation without cytotoxicity. The protein levels in the extract for the $6.25{\mu}g/mL$, $12.25{\mu}g/mL$, $25{\mu}g/mL$, $50{\mu}g/mL$, and $100{\mu}g/mL$ groups were significantly different from that for the control. Conclusions: The GBR-based natural material was easy to prepare and had characteristics of a potential biomaterial. The biocompatibility of this natural material was evaluated using in vitro techniques; our findings indicate that this novel material is promising for agricultural and biological applications.

• 한국의상디자인학회지
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• 제16권2호
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• pp.1-13
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• 2014

Hundertwasser's paintings have the characteristics in his works continue to emerge organical spirals, geometric pattern of squares, mysterious and gorgeous colors. This study by applying them, it has been purposed of expansion of representation outstanding artistic formative knitwear by using yarn of various textured fabrics and leather, felt, beads of the materials. The methods of this study are through the analysis of literature of Hundertwasser's paintings and art world and formative traits. It has been studied the literature of the theoretical background on general examination of knitwear and knit, felting, needle punching techniques. Conclusions from this study are as follows: The first, It could know the organic spirals and geometric square patterns and gorgeous colors of Hundertwasser's paintings are suitable as a decorative and rich motif of knitwear design. The second, It was possible unique and various texture expression of decorative patterns of Hundertwasser's paintings by expressing variety of materials of knit, felt and fabric, leather, beads. The third, It was expressed knitwear of unique texture to express Hundertwasser's image of the painting by using hand knitting, felting, needle punching, patchwork, beading of complex techniques. The forth, It was reflected well Hundertwasser's idea which was affected nature and art nouveau that all production processes are composed of handcraft techniques. It was suitable to express the naturalness of hand knit and not mechanical or artificial image. The fifth, It was analyzed lines and patterns of Hundertwasser's painting. The spiral is simultaneously constituted curve shape and area that square patterns also have devided area.

• 한국식품저장유통학회지
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• 제23권5호
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• pp.666-672
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• 2016

본 실험은 약주 제조 과정에서 효모와 발효온도에 따른 약주의 품질을 분석하였다. 약주의 이화학적 특성(pH, 총산, 에탄올, 유리 아미노산, 유기산, 향기 성분)을 조사하였다. 약주는 증자된 멥쌀에 입국과 효모를 넣고 각기 다른 온도($15^{\circ}C$, $20^{\circ}C$, $25^{\circ}C$)에서 20일간 발효하였다. $20^{\circ}C$에서 발효한 S. cerevisiae Y297 처리구는 다른 처리구에 비해 높은 알코올 생산성(17.9%)을 보였다. 온도관련 항체인 HSP104를 이용하여 면역반응을 확인한 결과, S. cerevisiae Y297 처리구는 대조구에 비해 저온에서 HSP104 단백질의 발현율이 높게 나타났다. 유기산 분석 결과, 대조구의 $25^{\circ}C$에서 젖산의 함량이 높게 분석되었다. 유리아미노산 분석 결과, 저온에서 S. cerevisiae Y297 처리구는 대조구에 비해 높은 필수 아미노산량을 확인할 수 있었다. 이러한 결과들을 통해 S. cerevisiae Y297 균주가 저온에서 제조하는 약주 생산에 사용할 수 있는 효모로써의 가능성을 확인할 수 있었다.

• 대한화장품학회지
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• 제43권3호
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• pp.211-221
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• 2017

돌나물(Sedum sarmentosum)의 기능성과 화장품 소재로서의 특성을 파악하기 위하여 본 연구를 수행하였다. 돌나물을 동결건조하고 분쇄하여 에탄올로 추출한 후 $-20^{\circ}C$ 에 저장하면서 실험에 사용하였다. 돌나물의 에탄올 추출물(SE) 내에 포함된 총폴리페놀화합물(TPC)의 함량은 $27.98{\pm}0.34g/kg$ (건조중량)이었고, epicatechin ($162.14{\pm}5.07mg/kg$), epigallocatechin ($55.99{\pm}2.49mg/kg$) 및 kaempferol ($47.96{\pm}3.02mg/kg$)순으로 많이 함유되어 있는 것으로 분석되었다. SE는 organic radical 소거효과($78.43{\pm}1.08%$)와 금속이온환원능(FRAP value $2.54{\pm}0.12$)을 나타내었다. 또한 SE는 지질과산화 반응의 초기 단계(FTC assay $62.03{\pm}0.38%$)와 최종단계(TBARS assay $55.36{\pm}2.05%$)를 저해하였다. SE (5 mg/mL 건조중량)는 Propionibacterium acne에 대해 항균효과를 나타내었다. SE의 elastase 저해율은 $38.94{\pm}7.09%$이었고, collagenase 저해율은 $78.94{\pm}2.49%$이었다. SE 처리구는 Col3A1 발현양이 증가하였고 collagen 생성율은 대조구보다 $58.11{\pm}1.07%$ 높았다. 0.5% SE가 함유된 수중유적형 크림은 pH 6.88, 밀도 1.47 g/mL이었고, 다양한 온도($-20-45^{\circ}C$)에 4주간 저장하는 동안 크림은 안정한 유화상태를 유지하였다. 따라서 SE는 항균, 항산화, 항노화 활성을 지닌 것으로 사료되었다.

• 한국연극학
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• 제53호
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.