• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2002년도 봄 학술발표회 논문집
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• pp.224-225
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• 2002

• 한국초등과학교육학회지:초등과학교육
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• 제36권1호
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• pp.73-84
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• 2017

Cultivating creativity is one of the goals in science education. Previous studies report that students use visualization while they solve the creative science problem and it looks helpful to make them think more. For this study three $6^{th}$ grade students were selected in the consideration of pre-test through the qualitative think-aloud method. The results show that even though students have many ideas in planning stage in problem solving, they appeared to visualize familiar and empirical ideas at first. So if teachers want to watch another creative ideas, they tended to give enough time to visualize many ideas. Students drew lines, circles, "X"marks to select or remove information during their problem solving works. They said these marks seem to be useful to understand question. However, removal marks sometimes turn out to block another chance to re-think. Also students did not have a chance to reflect what they did. It means that they lose the chance to do convergent thinking. The implications of this study include the importance of students' visualization works to facilitate their creative ideas and support their problem solving strategies. In this study, we discuss the meaningful messages for teachers who construct science classroom for creativity.

• 한국의상디자인학회지
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• 제16권4호
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• pp.117-136
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• 2014

The purpose of this study is to present a classification system of the hand-made and machine-made lace according to the configuration method and re-make the category and definition of lace to consider the emergence and development of major laces techniques. The re-made category and definition of the lace is as follows. The lace usually consists of ground and motifs, however, the techniques of netting and sprang are suitable for making ground than motif, so I think it is appropriate to exclude them from the category of the lace. Many scholars are excluded openwork embroidery fabric from the category of the lace. But, an openwork embroidery fabric is the basis of a needle point lace called true lace and is consist of motif and ground. I think it is appropriate to include it in the category of the lace. I think it is also appropriate to include in the category of the lace that the eyelet embroidery fabric which mimics the openwork embroidery fabric in the machine. Lace is redefined that a fabric with openwork decoration consists of motif and ground, constructed by a variety of ways such as plaiting, twisting, looping, knotting of threads or embroidering by hand or machine. The classification of the lace is presented as follows. Hand-made lace is classified bobbin lace, needle point lace, embroidery lace, knotted lace, crochet lace, and knitting lace. Machine-made lace is classified raschel lace, leaver lace, torchon lace, and machine-made embroidery laces which include tool lace, eyelet embroidery lace, chemical lace, etc.

• 디자인학연구
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• 제15권2호
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• pp.157-168
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• 2002

산업사회 이후 물질문명의 도래와 급속한 커뮤니케이션의 발전으로 다양한 변화를 수용해야만 하는 현대 디자인에 있어서, 여전히 보편적 진리와 원칙으로 고정된 디자인 사고로는 디자이너뿐만 아니라 새로운 감수성을 수용하려는 인간에게 더 이상 새로운 디자인 가치를 부여하기에는 그 한계를 드러내고 있다. 급속한 변화에 민감해진 인간은 계속해서 탄생되는 인공물과의 새로운 관계를 요구하고 있는 것이다. 'Droog Design[드록디자인]'은 네덜란드 젊은 디자인그룹으로 사물에 대한 기존의 기능은 물론 개념들을 재-사고 및 재-정의하고, 실험적이고 경험적인 디자인 접근으로 근래에 많은 주목을 받고 있는 디자인 그룹이다. 'Droog Design'은 지금까지의 디자인을 통해 삶의 질적 향상을 가져왔지만 그와 동시에 물질 문명의 폐단에 따른 책임과, 인간과 사물의 관계 개선이라는 측면에서 새로운 디자인 사고방식(mentality)를 제창하고 있다. 특히 조형을 다름에 있어서 인공물이 인간과의 관계는 단순히 수단으로서의 관계뿐만 아니라 감성적이고 경험적인 기능으로서의 관계를 갖기를 요구하고 있다. 'Droog Design'의 디자인 사고와 그 개념적 접근 방식은 오늘의 디자인에 신선한 자극이 되고 있다.

• 한국콘텐츠학회논문지
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• 제18권5호
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• pp.1-10
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• 2018

본 연구는 비즈니스용 웹 사이트 개발에 있어 비용효과적인 사용성 테스트 모델을 제시할 목적으로 수행되었다. 본 연구에서는 실시간 발성사고법(Concurrent Think Aloud), 성능 측정, 코칭 방법, 원격 테스트 방법을 혼합한 사용성 테스트 모델을 제시하였다. 테스트 대상은 연구진이 운영하는 전자정보 공동구매 컨소시엄 웹 사이트로 하였다. 테스트 참가자는 실제 사용자로 하였으며 업무 역할과 숙련도별로 차이를 두어 구성하였다. 사용성 테스트 분석 결과를 반영하여 시스템을 개선하였고, 동일한 태스크를 수행하여 소요시간과 마우스 궤적 복잡도를 비교한 결과 모든 참가자의 사용성이 개선된 것을 확인하였다. 본 연구에서 제시한 사용성 테스트 모델을 활용하여 비즈니스용 웹 사이트를 비용 효과적으로 평가하여 분석하는데 도움이 될 것으로 기대한다. 웹 사이트들은 목적별, 분야별로 특성이 있으므로 향후에는 특성화된 사용성 테스트 모델 연구가 필요하다고 본다.

• 한국재료학회지
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• 제9권5호
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• pp.515-519
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• 1999

We have investigated the photoreflectance characteristics for In\ulcornerGaAs/GaAs heterojunction structure grown by molecular beam epitaxy (MBE). The E\ulcorner bandgap energy of In\ulcornerGa\ulcornerAs at room temperature was observed at about 1.3 eV. From this result, the indium composition x value was calculated. The shoulder peaks were observed higher than E\ulcorner peaks, and peak positions were shifted toward 12 meV to 70 meV higher energy with increasing doping concentrations. The shoulder peaks can be observed by In segregation and re-evaporation. However, we think that indium re-evaporation cause th shift of shoulder peaks after epilayer growth.

• 영미문화
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• 제16권2호
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• pp.1-27
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• 2016

This paper aims to explore an other way to reflect on the self through woman, through the feminine, as a mode of being. In other words, in order to say about "how to re-think the self, in a different way," if I start from the issue of the feminine, how and why can this "a different way" be linked to woman? This question implies several more questions; what is woman? what is the feminine? what does it mean "a different way"? how can we say of "a different way"? Or, why can we take woman as the medium to "be" in a different way? If woman gives us a "way out," that is to say, if (S)he opens out a way for our out-being, ex-sistence, standing outside ourselves, that is, ek-stasis, does this enable us to overstep egotism? Then, how can we re-flect and say about this "out (as 'ex-/ek-')" in terms of woman, the feminine? This paper starts from these questions. Woman is an explosive overflowing force, movement, and process, which displace 'within' into 'outside,' as what Irigaray would call a "disruptive excess." Thus, I start from saying of the "place" in which woman itself takes place as overflowing. By referring to Derridian, Lacanian, and Heideggerian terms, I hope to foreground the ex-sistential space of woman.

• 한국실내디자인학회논문집
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• 제36호
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• pp.102-110
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• 2003

This Study is concerned with the architectural problems particular to the design of the sanctuary in Catholic churches. The paper is meant to address two distinct groups - clerics and architects. Architects do not tend to think the church buildings theologically or liturgically, and priests, though they are often trained in the arts, do not tend to look at buildings the same way architects do. Hence, my goal is to adequately address the concerns of each in a language the other will understand, thereby building a bridge of communication between the two groups. The two main concerns of the study are to provide guidelines and reflection lot liturgically correct buildings, and to re-establish the traditions of church buildings. I discuss the idea of the sanctuary in the Catholic church,(in chapter 2) and examine each of the main furnishings of the sanctuary with regard to history, liturgical use, symbolism and related pastoral concerns.(in chapter 3,4).

• 대한전기학회:학술대회논문집
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• 대한전기학회 1992년도 하계학술대회 논문집 B
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• pp.775-778
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• 1992

In 1980, 154kV OF cable was installed at the Cheong-Pyeong pumped-storage power station. Effective head of this pumped-storage station is 250m between upper and lower re-servior and length of cable route is 750m. However, several failures have happened owing to steep slope during the operation. 154 kV XLPE cable was applied for this power station to eliminate a lack of stability on account of steep slope and successfully installed in 1991. Meanwhile, installation procedure brings about many problem to be solved. In this paper, we describe the counter measure of cable sliding phenomena caused by heat shrinkage as well as the method of installation of cable under the steep slope condition. And hereafter, we think this paper will be a good reference to design and installation of 154kV XLPE cables in steep slope turnnel at urban areas.

• 복식
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• 제27권
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• pp.53-74
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• 1996

The Doryon-Line is the lowest line of the Chechori and Dangeu and the length of the Chechori and the Dangeu have wide influence on the Doryon-Line. Also the change of the Doryon-Line is re-lated to the proportion the length the depth that is the curved proportion and the two curved proportion 0.04 and 0.13 are related to the roof style of the traditional architecture in Chosun Dynasty. The Chosun people have made a change the Doryon-Line monotonous in the 14C-15C but the Doryon-Line have been full of variety every fifty years in the 15C-18C. Especially Chosun people have been at war in the mountains and fields in the Doryon-Line are 0.06 and 0.07 in this period I think that the curved proportion 0.06 and 0.07 are symbolized the natural beauty in the mountains and trees of the Korea.