• 디자인학연구
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• 제19권5호
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• pp.75-84
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• 2006

본 연구의 주 내용은 UN Studio의 다이어그램 사례를 중점적으로 분석해봄으로써 공간디자인 다이어그램의 개념적 내용과 구성 요소 및 실질적 활용방법에 대해 알아보는 것이다. 사례연구를 통해 분석된 연구결과는 다음과 같다. 첫째, 공간 다이어그램에 표현되고 있는 개념적 내용은 모티브, 흐름, 관계, 분포의 네 가지로 구분된다. 둘째, 공간 다이어그램은 디자인 프로세스의 프로그램 개발, 개략적인 디자인, 초기 디자인의 단계에서 주로 사용된다. 셋째, 사례 다이어그램들에 기초한 다이어그램 구성요소의 내용은 크게 다섯 가지, 컨텍스트 분석, 객체 분석, 시간/행위 분석, 조형 분석, 공간 분석으로 나눌 수 있다. 넷째, 다이어그램의 실질적 활용에 있어서 모티브를 개념적으로 표현한 다이어그램은 조형 분석에 주로 활용될 수 있으며, 흐름을 개념적으로 표현한 다이어그램은 시간/행위 분석과 객체 분석에 주로 활용될 수 있다. 관계를 개념적으로 표현한 다이어그램은 공간 분석에 가장 많이 활용 될 수 있으며, 그 다음으로 컨텍스트 분석과 조형분석에 활용 될 수 있다. 분포를 개념적으로 표현한 다이어그램은 공간분석에 주로 활용될 수 있다. 이와 같은 연구 결과를 실무 및 교육의 디자인 프로젝트에 적극적으로 활용한다면 디자인 정오의 구조화뿐만 아니라 디자인 발상과 전개에 도움이 될 것이다.

• 대한토목학회논문집
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• 제12권1호
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• pp.1-8
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• 1992

지반을 반무한 탄성체로 가정할 때 판과 지반간의 접촉압력을 유한요소법으로 해석하는 방법은 크게 두 가지로 생각할 수 있다. 그중 가장 직접적인 방법은 판과 지반을 모두 요소로 분할하는 방법이다. 즉 판은 평판요소로 지반은 유한한 범위에서 입체요소로 분할하는 방법을 말한다. 이 방법은 지반의 강성도행렬이 과대해지고 만약 상부구조가 판이 아닌 큰 규모의 구조물일 경우에는 전체강성도행렬이 너무 커지고 강성도행렬의 대폭도 대단히 커지게 되어 실용적 방법이라 할 수 없다. 또 한 가지 방법은 반무한 탄성체의 표면에 집중하중이 작용하는 경우에 대한 Boussinesq의 해를 이용하여 지반전체를 한개의 요소로 취급하는 방법이다. 이 방법을 택할 경우에는 판과 지반의 총접촉절점수와 같은 차수인 유연도행렬의 역을 구해야 한다. 더구나 유연도행렬은 대폭이 행렬의 차수와 동일하고 비대칭이므로 그 역을 구하는 것이 결코 실용적이라 할수 없다. 본 연구에서는 역행렬을 구하는 과정을 회피하는 한가지 방법으로 접촉절점에서의 접촉압력을 먼저 구하여 반력분포를 결정한 다음 상부구조와 지반의 변위 및 응력을 개별적으로 구하는 방법을 사용한다. 이 방법은 Cheung 등이 최초로 사절점 직사각형요소에 대하여 이론상으로만 제안한 것이나, 판의 절점위치에서의 등가접지압이 일정한 지배영역에 등분포한다고 가정하고 있다. 본 연구에서는 8절점 등매개변수요소를 이용하여 곡선경계의 요소분할이 가능하도록 하였고 판의 한 요소와 접하는 지반영역을 Gauss 적분의 가중값과 통일한 넓이의 소영역들로 분할하여 각 소영역에 Gauss 적분점에서의 접지압이 등분포한다고 보고 계산한 점이 다르다.

• 대한건축학회논문집:계획계
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• 제34권1호
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• pp.53-62
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• 2018

Bulcheonwi is determined by various ways. The first is certified by the state. Kings granted posthumous names to figures such as meritorious retainers, figures whose mortuary tablets were put into Jongmyo Shrine, and venerated figures with erudition and virtue whose mortuary tablets were put into Munmyo (Korean primary Confucian shrine The purpose of this study is to understand the spatial perception of Main head families (大宗家) and Sub head families (小宗家) have been divided for several centuries. This study was conducted under the assumption that it was possible to understand the mutual influence and relationship between perception and space by examining how methods for ritual ceremonies held in Main head families were conducted in different spaces of Sub head families or the process of ritual ceremonies changed with space. Bulcheonwi rites was performed by each family's own concepts of spaces such as Jeongchim or Cheongsa For actual ritual space, An-chae, Sarang-Chae and Byeoldang was utilized. This shows that one family's conception and utilization of each space was correspondent also different family s had their own idea of utilizing different spaces. In addition depends on the family in this study, there was differences on positon of Sa-dang upon the regions or time of construction. This can be concluded as familes had their own accommodations depends on building's space layout and traditons rather than following traditional Rites book's the rules of decorum.

• 한국조경학회지
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• 제34권2호
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• 항공우주정책ㆍ법학회지
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• 제22권2호
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• pp.3-25
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• 2007

In 2002 Republic of Korea successfully launched a self-made mined proportion rocket and it is expected that she will be able to have own space launching system by 2010. According to Article 14 of the Space Exploration Promotion Act, a new law should be established to impose the limit of compensation for the damage by space accident. Therefore, The Space Accident Liability Act was passed in Korean Congress on Nov. 22, 2007 and it will be enforced in six months. The purpose of this Act is to provide reparation for the damage of the third parties that a launch causes; and the Commonwealth should be insured against any possible space accidents to pay for such a damage. Here space accident means the damages to our life, body, and properties from the launching of space objects. There should be an actual loss to establish the compensation of Liability Act. Article 2 in Liability Act defines "damage" as follows: the term "damage" means loss of life, personal injury or loss of or damage to property of persons. Physical and material damages are included in the conception of damage. The meaning of a launching includes any test launch and launch for a real arrangement which will ultimately provides a wide range of compensation. Article 4 indicates that absolute liability should be imposed in compensating for damage by space accidents. Article 4 also indicates that a launching party should be absolutely liable to compensate for the damage caused by its space object on the surface of the Earth. In general, liability stands where fault is. But if the activity is ultra-hazardous and causes serious harm, the individual needs to compensate for the damage unlimitedly. Because of the many launchings for the Seattleite launching, a launching organization is obligated to the liability insurance in preparation for the space accidents. According to the Article 6 of Space Accident Liability Act, to be insured for the compensation for damage is obligatory. It says: "In accordance with Article 11 in the Space Exploration Promotion Act, the person who wants to receive an approval f3r launching needs to be insured in compensation for the possible damage by space accidents.

• 한국주거학회논문집
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• 제16권1호
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• pp.1-9
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• 2005

The purpose of this study is to scrutinize forefathers' standpoint on architectural planning by peering into their literature. Dongkukyisangkukjib which contains works about daily life of Lee Gyu-Bo, a great writer in the middle of Koryo, reveals well people of Koryo' thought on architecture, if we have a interest in a building space. The book holds his general viewpoint on architecture and documents about the remarkable houses he and his friends visited. Then we can know, through it, general thought on architecture of the upper classes in those days. Lee Gyu-Bo considered a house the other self of its owner and connected buildings with personality of their owner. 0 architectural process and architectural planning, buildings were shown variously by reflecting owner's value on architecture. Unlike Chosun era, people of Koryo prefer unlimited thinking to form or order. Therefore in construction especially such as a pavilion, there were many experimental tries which reflected owners' thought. Particularly we could estimate people of Koryo' conception of architectural design through a work of Lee Gyu-Bo, Saryunjungky, a document about a pavilion carrying four wheels, which describes concretely contents of architectural planning such as a planning of space, module, and intention.

• 한국주거학회논문집
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• 제14권5호
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• 한국실내디자인학회논문집
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• 제18권5호
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• pp.21-30
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• 2009

A point of view has been diversified where it has been put. We are living in the era that requests many standpoints to us to understand relations involved with me and my surrounding and it will speed up as the aspect has been changed so far. This phase is not exceptional to the design. Various spaces engaged in us have an immaterial phenomenon as composed by, so it is conceptualized to try the other way differentiated before. On the other hand, we can often meet examples of a literature scenario through conceptualizing an immaterial phenomenon as organized. Because of the difference between an individual's value and environment, it is criticized because of limitation to probe right and wrong of the objective feasibility. However, it is requested that this method needs to have an organized grammar in the interconnection broken of the standard of right and wrong in the science as well as goodness, evil and beauty in the morality. Nowadays a montage, which means the way to create objective by combining different points, is more multifariously applied in the generation of mixture asking various meanings and signifier and it's been widely extended. This study intends to pursue a new methodical approach focused on a characteristic of the montage and puts the goal on deduction for an expressive way of a montage specificity practically indicated at the shopping space through the space translation of the montage conception as well as plot of a movie. In conclusion, this study is how to be expressed of the montage expression method to understand.

• 조형예술학연구
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• 제13권1호
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.