• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.244-253
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• 2012

Vincent van Gogh is a Dutch postimpressionism artist that is one of the most influential painter of the 20th century with his vivid colors and sensibility. 'The Bedroom at Arles' is the art piece that van Gogh himself had admitted to be a great artwork, which also reflects the story of his life and inner thoughts. The spacial characteristics of 'The Bedroom at Arles' are amanufactures the following. First, the space shown at 'The Bedroom at Arles' exhibits the phenomenon of undoing the law of perspective by authorizing individual existence to the objects and space, instead of fitting in the objects into the space in the order given by the law of perspective; entirely rearranging the reminiscent space from past. Secondly, the expression 'bedroom' reflects that the subject was about his own experience with the space and a representation of his imagination, which is a metaphorical symbol. Thirdly, van Gogh used strong colors and brush touches to express his subjective opinion, which aren't the actual shades of the scene, but chosen only to approach the space and objectives with his own symbolic interpretation from his heart. Through a synthetic overview of the characteristics of van Gogh's 'The Bedroom at Arles', it could be told that he holds an essential Space perception system, in hir inner self. The space is intentionally rearranged and strangely altered to form an entirely new relation, breaking the tension from the systematically stable rules and orders. 'The Bedroom at Arles' seems to express an unique and symbolic sensation and experience through the combination of its colors and spacial structure.

• The Bulletin of The Korean Astronomical Society
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• v.37 no.2
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• pp.113.2-113.2
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• 2012

An innovative solar observing satellite, Hinode, has successfully observed the detailed evolution of a rapidly developing emerging flux region from the beginning of its appearance at the solar surface. The high spatial and temporal resolution provided by the satellite enables to capture the prominent dynamic processes such as the rotational motion of a polarity region with intense magnetic flux which is reminiscent of a cyclone on the Earth, and a running wave that spreads ahead of this rotating polarity region. This 'solar cyclone' is, on the other hand, generated differently from terrestrial cyclones, and a possible generating mechanism for it is demonstrated with a three-dimensional magnetohydrodynamic simulation of a twisted magnetic flux tube emerging from the solar interior into the solar atmosphere. The simulation shows that the rotational motion is caused by a strong downflow of plasma along the twisted field lines that form a helical pillar standing upright on the Sun.

• International Journal of Aeronautical and Space Sciences
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• v.13 no.4
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• pp.507-514
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• 2012

The present study is the analyses of what has been attempted and what was understood in terms of improving the regression rate and enlarging the basic understanding of internal flow dynamics. The first part is mainly intended to assess the role of helical grain configuration in the regression rate inside the hybrid rocket motor. To improve the regression rate, a combination of swirl (which is an active method) and helical grain (which is a passive method) was adopted. The second part is devoted to the internal flow dynamics of hybrid rocket combustion. A large eddy simulation was also performed with an objective of understanding the origin of isolated surface roughness patterns seen in several recent experiments. Several turbulent statistics and correlations indicate that the wall injection drastically changes the characteristics of the near-wall turbulence. Contours of instantaneous streamwise velocity in the plane close to the wall clearly show that the structural feature has been significantly altered by the application of wall injection, which is reminiscent of the isolated roughness patterns found in several experiments.

• Journal of The Korean Astronomical Society
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• v.44 no.5
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• pp.143-150
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• 2011

This paper reports a characteristic motion of a polarity inversion line (PIL) formed at the solar surface, which is newly found by performing a three-dimensional magnetohydrodynamic simulation of flux emergence in the Sun. A magnetic flux tube composed of twisted field lines is assumed to emerge below the surface, forming a bipolar region with a PIL at the surface. A key finding is the successive half-turn rotation of the PIL, leading to the formation of a quadrupolar-like region at the surface and a magnetic configuration in the corona; this configuration is reminiscent of, but essentially different from the so-called inverse-polarity configuration of a filament magnetic field. We discuss a physical mechanism for producing the half-turn rotation of a PIL, which gives new insights into the magnetic structure formed via flux emergence. This presents a reasonable explanation of the configuration of a filament magnetic field suggested by observations.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.100-108
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• 2012

Modern architecture tends to split the everyday life and the space of human. Position of architecture should be on the relationship between nature and human need. It will be study on the everyday life of architecture from architecture and everyday life of human relationships. Based on this study, it makes clear the visual aspects of architectural experience to acquire spatial tones for analyzing architectural Everyday-ness. In this case, Portugal's modern architectural space was impressing, because of the construction of local color and architectural vocabulary of the Everyday-ness. Therefore, the Everyday-ness of Architecture by relationship analysis reveals the space of these spatial tones. Spatial characteristics of the Everyday-ness of architecture be analyzed of simplicity, purity, locality, reminiscent, continuity, and transition, etc. Expression elements of spatial tones can be derived into five classes such as light, color, material, pattern (texture), and depth. In conclusion, spatial characteristics of the Everyday-ness and expression elements of spatial tones consist of configuration matrixes to analyze the spatial tones of the contemporary architecture in Portugal. As a result of this study, the expression characteristics of spatial tones of contemporary architecture in Portugal are background-ness, one-ness, and inherence. I hope this study will be applied to the basic data of the architectural Everyday-ness.

• Bulletin of the Korean Chemical Society
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• v.33 no.3
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• pp.779-789
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• 2012

In the kinetic theory of dense fluids the many-particle collision bracket integral is given in terms of a classical collision operator defined in the phase space. To find an algorithm to compute the collision bracket integrals, we revisit the eigenvalue problem of the Liouville operator and re-examine the method previously reported [Chem. Phys. 1977, 20, 93]. Then we apply the notion and concept of the eigenfunctions of the Liouville operator and knowledge acquired in the study of the eigenfunctions to cast collision bracket integrals into more convenient and suitable forms for numerical simulations. One of the alternative forms is given in the form of time correlation function. This form, on a further manipulation, assumes a form reminiscent of the Chapman- Enskog collision bracket integrals, but for dense gases and liquids as well as solids. In the dilute gas limit it would give rise precisely to the Chapman-Enskog collision bracket integrals for two-particle collision. The alternative forms obtained are more readily amenable to numerical simulation methods than the collision bracket integrals expressed in terms of a classical collision operator, which requires solution of classical Lippmann-Schwinger integral equations. This way, the aforementioned kinetic theory of dense fluids is made fully accessible by numerical computation/simulation methods, and the transport coefficients thereof are made computationally as accessible as those in the linear response theory.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.66 no.9
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• pp.1424-1430
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• 2017

Human senses have been studied widely. Many studied are being actively conducted to analyze correlations between two or more different senses. Among them, research on tactile visuality where a subject can indirectly experience visual sensation through tactile elements is also progressing in various fields. In this study, we analyzed color information by having subjects perceive sandpapers with different roughness through tactile sense, then having them choose a color that is reminiscent of the tactile sensation. Unlike existing tactile-visuality studies allowing the perception of indirect visual sense by using tactile sense, this study shows that it is possible to analyze with quantitative value by representing visual image perceived by tactile sense as a color. This study will contribute to emotional evaluation research that combines two or more of the senses felt by humans, and especially is considered to be useful as basic data when conducting research about tactile visuality or auditory tactile sense.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.3-17
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• 2020

Through color analysis and survey of seasonal display cases using flower materials in department stores, hotels, and retailers, which are representative commercial spaces in Korea and abroad, it is designed to recognize the need for color planning that applies seasonal colors and emotional adjectives, away from the traditional method of relying on the season, shape and texture of materials, in the process of flower displays. The research method analyzed the colors used in the 48 domestic and foreign commercial space flower display cases collected. Based on this, the first expert questionnaire collected adjectives extraction and seasonal coordinates reminiscent of the case and examined the suitability of emotional adjectives extracted by the second public survey. The research results extracted typical colors and tones of spring, summer, fall, and winter, and recognized seasonal emotional adjectives. Based on these results, We could see that the color scheme should be advanced in the flower display, which used to depend solely on the shape or texture of the flower material, to produce the intended emotional design.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.40-54
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• 2015

Tashkent Seoul Park was completed in June, 2014, following the signing of a sisterhood relationship between Seoul City and Tashkent, the capital of Uzbekistan in July, 2010. An open competition for the design of the park was held and, based on the design, the park was completed in June and open to the public in September, 2014. Tashkent Seoul Park is more than a public park in Tashkent. The focus was on making it a starting point for offering a new model for traditional parks of Korea built abroad. Korean gardens and parks built in overseas cities are not only a landscape space but also serve as an ambassador that promotes the culture of Korea to foreigners who are unfamiliar with Korean culture. Therefore, Tashkent Seoul Park was designed to reflect the beauty and uniqueness of Korean traditional landscaping to promote the image of Korea and Seoul. As such, the design and plan was focused on the best measures to make known Korean culture through a design that sets itself apart from the landscape of Uzbekistan. To date, Korean parks or Seoul parks that have been built overseas have focused on the re-enactment of gardens and parks during the Josun Dynasty era. But with the Tashkent Park, the process of the 170,000 people from Goryeo was also reflected onto the design so that the culture and sensibilities of old Goryeo could be felt as well. Korean traditional garden design elements for the representation of the Korean identity are taken from the pilot study. This design element includes not only that of Goryeo, but also the Josun Dynasty era to allow local people to experience a general Korean traditional garden. The traditional beauty and lyricism of Korea was presented to Central Asia through the park in Tashkent so that the citizens could feel the simple yet down-to-earth beauty of Korean aesthetics. As such, the spatial experience of story-telling in Seoul Park evolves from two points of view. First, it is a spatial experience from the perspective of the Goryeo period and of foreigners. It is a continuum of a landscape experience where one can trace the sentiments of Korea and a hometown in Korea by passing through lyrical and multi-faceted spatial structures. Second, it is an experience that evolves from the viewpoint of an outsider, including the Tashkent citizens. It allows visitors to read the various methods and attitudes in an unfamiliar landscape and terrain. Through a story-telling that is reminiscent of the Silk Road through which trade with East Asia took place, visitors can interact with Korean culture in the Korean Garden and throughout the process they can feel the very Korean sentiments. This park presents the latest example of a 'Korean Garden' formed overseas and thus presents a clue to understanding the representation pattern of the Korean aspects of Korean Gardens through a study on the design strategies.