• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.88-99
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• 2015

As architecture is designed for humans to live in based on practicality, what one experiences within such spaces is important. Such experiences are not felt only by appreciating the structure's appearance, but involve physical presence inside the space and the deepening of the individuals relationship with the space through the body's sensory perception. However, in modern times there is a much greater tendency to rely on superficial experiences by way of images or tastes rather than more meaningful human participation, while the standardization of the object universe is gradually erasing the uniqueness of experience. In light of this, the restoration of emotional and sensory spatial experiences through the design of sensory spaces can be regarded as an important task in modern spatial design. This study contemplated the meaning of emotional spatial experiences through a phenomenological understanding of such experiences, and analyzed the meaning and main factors in the creation of spatial atmosphere as a phenomenon of spatial experience. In addition, we highlighted the fact that spatial atmosphere can be applied as space design methodology by devising methods of expression through an analysis of actual examples. O.F. Bollnow's space theory and the spatial design of Peter Zumthor were the subjects of this analysis. The spatial atmosphere analyzed using Bullnow's theory is a phenomenon in which both the human and space are connected and the ensuing spatial experience embodies the emotions of both. This spatial atmosphere can be understood as a condition in which the human and space are fused together. Furthermore, coincidental/accidental meeting, mediums using potential objects, reorganization of the center due to autonomous boundaries, as well as the three temporalities were identified as the main factors in the creation of spatial atmosphere. Based on this analysis, through the identification of methods of expression for spatial atmosphere in Zumthor's spaces.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.230-240
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• 2020

To develop a virtual world-based immersive tutoring system, we would like to develop a simulation in the spatial aspect to maximize the diversity and realism of the situation. This implementation requires the modeling of virtual space as well as the knowledge and intelligent thinking functions of virtual humans. First, information structures are needed to simulate the hierarchical and multifaceted composition of space and the corresponding knowledge of virtual humans. Specifically, four structures for 2.5D spatial distribution expression, complex spatial relationship expression, object expression, and temporal and spatial representation of events are developed respectively. It then uses these expressed knowledge to develop the spatial thinking function of virtual humans needed to make spatial movement. In general, events have a chain effect on adjacent or connected objects through force, resulting in a variety of situations and reflected in the planning of the next action by the virtual humans involved. For this purpose, the development of events according to historical trends is recorded on the representation structure of time and space. It embodies typical events to demonstrate the feasibility of independent behavior in complex spaces among virtual people.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.79-87
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• 2013

The purpose of this study clarifies an expression characteristic of the phenomenal space. The architecture is an interface between human and nature. Nature presents herself as phenomena. Thus, the phenomenal space should be approached as the essence of architecture that is to accommodate nature. Phenomenon is related to everyday life and shares flow naturally within it. The phenomenon and everyday life form a relationship through the mediating elements that are time, place, and image. If these mediating elements are developed as spatialized elements, time becomes the converse, place becomes the overlap, and shape becomes the revealing. Also, spatial components that are substituted with these elements are void/solid, form, and materials. The relational characteristics of phenomenal space can be identified through these, and such characteristics are one-ness, continuity, and coincidence of opposites. Phenomenal space is expressed with spatial tones and accepted as spatial atmospheres. For the analysis, 15 works of swiss architects were selected to which spatial elements were applied. And It were composed that analysis by arranging these components as the relational network found that expression characteristics. Trough the analysis, It was found that expression characteristics of phenomenal space of the architecture of Swiss architects were prototypicality, primitiveness, and originality. As a results, It is considered that the role of the space that contains the value of everyday life, the value of the phenomenon is necessary.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.12
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• pp.6000-6017
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• 2018

This paper presents a new descriptor, named Histograms of Prominent Edge Directions (HPED), for the recognition of facial expressions in a person-independent environment. In this paper, we raise the issue of sampling error in generating the code-histogram from spatial regions of the face image, as observed in the existing descriptors. HPED describes facial appearance changes based on the statistical distribution of the top two prominent edge directions (i.e., primary and secondary direction) captured over small spatial regions of the face. Compared to existing descriptors, HPED uses a smaller number of code-bins to describe the spatial regions, which helps avoid sampling error despite having fewer samples while preserving the valuable spatial information. In contrast to the existing Histogram of Oriented Gradients (HOG) that uses the histogram of the primary edge direction (i.e., gradient orientation) only, we additionally consider the histogram of the secondary edge direction, which provides more meaningful shape information related to the local texture. Experiments on popular facial expression datasets demonstrate the superior performance of the proposed HPED against existing descriptors in a person-independent environment.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.62-70
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• 2011

Fashion flagship store is to maximize brand's image, not for sales. As a value for consumption is changing into expression of individual styles and egos through brands' images based on their personalities rather than products, today, people are laying stress on expression of brands' personalities with spatial design of fashion flagship store to create differentiated brand images. This study was designed to examine brand personalities expressed in fashion flagship store's spatial design, and spatial components and ways of expression to influence them, and analyze how brand personality has an impact on brand loyalty. According to the results of this study, brand personality in fashion flagship store's space design of Louis Vuitton has three characteristics such as sincerity, vitality and tenacity, and display, pattern, furniture, color and wall have high influences on expression of its brand personality. Also, the higher brand personality got, the higher brand loyalty went up. These results imply that fashion flagship store's space design expressing differentiated brand personalities influences customers' brand loyalty to constantly use the brands, and thus is highly important for brand marketing of this day.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.83-90
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• 2017

The purpose of this study is to investigate the possibilities of architectural planning and expression of the relationship between structure and skin in contemporary architecture. For this purpose, we show interior space images -integration of structure and skin architecture- to students and experts of the related majors, and let them mark their feeling on the questionnaire composed spatial expression vocabulary extracted through the literature study on spatial sensibility, and analysis data. As a result, in contemporary architecture where the structure and the skin are integrated, form elements have a stronger influence on formation of space sense than elements of light and size, and aesthetics, characteristic, and temporality are common in the inner space, Three types of four types showed unique characteristics, and it was confirmed that there is a causal relationship between the spatial feeling factor and the spatial feeling. This means that the relationship between the structure and the skin can be considered as a planning factor, and this study is expected to be used as such basic data.

• Journal of Korea Multimedia Society
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• v.25 no.10
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• pp.1535-1545
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• 2022

Sign language has completely different meaning depending on the direction of the hand or the change of facial expression even with the same gesture. In this respect, it is crucial to capture the spatial-temporal structure information of each movement. However, sign language translation studies based on Sign2Gloss2Text only convey comprehensive spatial-temporal information about the entire sign language movement. Consequently, detailed information (facial expression, gestures, and etc.) of each movement that is important for sign language translation is not emphasized. Accordingly, in this paper, we propose Spatial-temporal Keypoints Centered Sign2Gloss2Text Translation, named STKC-Sign2 Gloss2Text, to supplement the sequential and semantic information of keypoints which are the core of recognizing and translating sign language. STKC-Sign2Gloss2Text consists of two steps, Spatial Keypoints Embedding, which extracts 121 major keypoints from each image, and Temporal Keypoints Embedding, which emphasizes sequential information using Bi-GRU for extracted keypoints of sign language. The proposed model outperformed all Bilingual Evaluation Understudy(BLEU) scores in Development(DEV) and Testing(TEST) than Sign2Gloss2Text as the baseline, and in particular, it proved the effectiveness of the proposed methodology by achieving 23.19, an improvement of 1.87 based on TEST BLEU-4.

• Journal of Information Processing Systems
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• v.17 no.2
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• pp.337-351
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• 2021

Automatically recognizing facial expressions in video sequences is a challenging task because there is little direct correlation between facial features and subjective emotions in video. To overcome the problem, a video facial expression recognition method using spatiotemporal recurrent neural network and feature fusion is proposed. Firstly, the video is preprocessed. Then, the double-layer cascade structure is used to detect a face in a video image. In addition, two deep convolutional neural networks are used to extract the time-domain and airspace facial features in the video. The spatial convolutional neural network is used to extract the spatial information features from each frame of the static expression images in the video. The temporal convolutional neural network is used to extract the dynamic information features from the optical flow information from multiple frames of expression images in the video. A multiplication fusion is performed with the spatiotemporal features learned by the two deep convolutional neural networks. Finally, the fused features are input to the support vector machine to realize the facial expression classification task. The experimental results on cNTERFACE, RML, and AFEW6.0 datasets show that the recognition rates obtained by the proposed method are as high as 88.67%, 70.32%, and 63.84%, respectively. Comparative experiments show that the proposed method obtains higher recognition accuracy than other recently reported methods.

• Animal cells and systems
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• v.1 no.4
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• pp.589-594
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• 1997

The neuronal voltage-sensitive calcium channels (VSCCs) are multisubunit complexes consisting of $\alpha_1,\;\alpha_2-\delta$ and $\beta$ subunits. Heterologous expression and biochemical studies have shown that the activity of VSCCs is regulated by their $\beta$ subunits in a $\beta$ subunit isoform-specific manner. To elucidate the $\beta$ subunit identity of the P/Q-type calcium channel encoded by an $\alpha_{1A}$ subunit, which is exclusively expressed in the Purkinje and granule cell of the cerebellum, we have examined the spatial and temporal expression patterns of $\beta$ subunits and compared them with those of $\alpha_{1A}$ subunit in the developing rat cerebellum. Reverse transcriptase- polymerase chain reaction (RT-PCR) and Northern blot analysis have shown that $\beta_4$ subunit mRNA was prominently expressed in the cerebellum and much more abundant than any other distinct $\beta$ subunits. RNase protection assay has further demonstrated that the expression of $\alpha_{1A}$ and $\beta_4$ subunits increased during cerebellar development, while the amount of $\beta_2$ and $\beta_3$ mRNAs did not significantly change. In addition, a $\beta_4$ transcript was present in cultured cerebellar granule cells, but not in astrocyte cells, and the level of $\beta_4$ mRNA expression increased gradually in vitro seen as in vivo. Based on the spatial and temporal expression patterns of $\beta_4$ subunit, we conclude that $\beta_4$ may predominantly associate, but probably not exclusively, with the $\alpha_{1A}$ subunit in rat cerebellar granule cells.

• The Research Journal of the Costume Culture
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• v.29 no.3
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• pp.361-373
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• 2021

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and three-dimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer's imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.