• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.195-202
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• 2012

This study aimed to analyze the types and characteristics of space forms according to performance types in the space of performing arts centers through the cases of modern performing arts centers. As for the space forms according to the performance forms, the performing arts centers devoted to dramas made a small space or turned into multi-purpose ones entering the modern days. Added to the proscenium, the main stage, was the back stage for the stage background. The area of the stage and auditorium grew similar with some kind of separation between the stage and audience. The concert halls have close relationships with the audience and their stage contacts the auditorium on many sections. The stage space is smaller than the auditorium and usually either the complex or entry type. In the opera theater, they commonly create a space for social gathering in addition to the main stage of proscenium, back stage, side stage and auditorium. They're also distinct from other performing centers for having an orchestra pit between the stage and audience. The stage is twice as big as the auditorium and the separate type. In today's performing arts centers, the sizes of the stage and auditorium can vary widely, and the performances of many different genres are put to multiple purposes.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.40-48
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• 2009

This study aimed to analyze the types and characteristics of space forms according to the composition of the stage and auditorium space along with the expression trends in the space of performing arts centers through the cases of modern performing arts centers in America. Today since the purposes of performance are multiple, a variety of stage types are applied to each performing arts center. They use various spaces and performances of multiple purposes by moving and transforming the stage and auditorium according to the kinds of performance as a variation of the arena stage. In today's performing arts centers, the sizes of the stage and auditorium can vary widely, and the performances of many different genres are put to multiple purposes. There appear complex performing arts centers that can plan performing spaces of diverse sizes and forms to fit the functions of a performance in a large building. Since they put on performances in a large space according to the characteristics of the kind of performance, the intentions and goals of the performance are well delivered to the audience.

• Journal of the Korean Society for Precision Engineering
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• v.22 no.7 s.172
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• pp.102-111
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• 2005

In this paper, we address a position control for a parallel stage, which is levitated and driven by electric magnetic force. This consists of a levitating object (called platen) with 4 permanent magnetic linear synchronous motors in parallel. Each motor generates vertical force for suspension against gravity and propulsion force horizontally as well. This stage can generate six degrees of freedom motion by the vertical and horizontal force. A dynamic equation of the stage system is derived based on Newton-Euler method and it's special Jacobian matrix describing a relation between the limited velocity and Cartesian velocity is done. There are proposed two control methods for positioning which are Cartesian space controller and Actuator space controller. The control performance of the Cartesian space controller is better than the Actuator space controller in task space trajectory while the Actuator space controller is simpler than the Cartesian space controller in controller realization.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2004.10a
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• pp.894-897
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• 2004

In this paper, we address a position control scheme for a stage system, which is levitated and driven by electric magnetic actuators. This consists of a levitating object (called platen) with 4 permanent magnetic linear synchronous motors in parallel. Each motor generates vertical force for suspension against gravity and propulsion force horizontally as well. This stage can generate six degrees of freedom motion by the vertical and horizontal forces. Dynamic equations of the stage system are derived based on Newton-Euler method and its special Jacobian matrix describing a relation between the Joint velocity and platen velocity is done. There are proposed two control schemes for positioning, which are Cartesian space controller and Joint space controller. The control performance of the Cartesian space controller is better than the Joint space controller in task space trajectory while the Joint space controller is simpler than the Cartesian space controller in controller realization.

• Korean Journal of Child Studies
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• v.3
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• pp.35-48
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• 1982

The purpose of this study is to investigate the Piaget's theory of the child's conception of space, which explains the stage of child's congnitive development. This thesis consists of 4 Chapters, including introduction, which examines the concept of space perception, and the development of arithmetic conception, and suggests the outline of this study. In the Chapter II, the brief history of topological Psychology, and the current situation of this theory has been explained. According to Piaget's theory of the conception of space, the child's development of the conception of space develops orderly three stages, that is to say, the stage of conception of space by the topological relations, the stage of projective conception of space, and finally the stage of the Euclidian, conception of space. Children's development of the conception of space continuously, and orderly has been made by these stages. Also, in this Chapter, Piaget's experiment about the development of child's conception of space has been explained. In the Chapter III, the children's conception of geometry has been examined. Here explains the development of space representation, and of seriation or classification. In the Chapter IV, some theories of the conception of space has been examined, and some points of view has been made as a conclusion.

• Bulletin of the Korean Space Science Society
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• 2004.10b
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• pp.274-277
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• 2004

KSLV (Korea Space Launch Vehicle)-I telemetry system will be composed of two telemetry streams: a lower stage telemetry stream and an upper stage telemetry stream. In this paper, the authors present design, implementation and test results of the upper stage telemetry interface for KSLV-I. The telemetry system currently is in the stage of the prototype model development, and its engineering model and flight model will be developed in the near future.

• International Journal of Aeronautical and Space Sciences
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• v.11 no.4
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• pp.303-312
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• 2010

This paper introduces the upper stage attitude control system of KSLV-I, which is the first space launch vehicle in Korea. The KSLV-I upper stage attitude control system consists of two electro-hydraulic actuators and a reaction control system using cold nitrogen gas. A proportional, derivative, and integral controller is designed for the electro-hydraulic thrust vectoring system, and Schmidt trigger ON/OFF controllers are designed for the reaction control system. Each attitude controller is designed to have enough stability margins. The stability and performance of KSLV-I upper stage attitude control system is verified via hardware in the loop tests. Hardware in the loop tests are accomplished for perturbed flight conditions as well as nominal flight condition. The test results show that the attitude control loop of KSLV-I upper stage is very stable and the attitude controllers perform well for all flight conditions. Attitude controllers designed in this paper have been successfully applied to the first flight of KSLV-I on August 25, 2009. The flight test results show that all attitude controllers of the KSLV-I upper stage performed well and satisfied the accuracy specifications even during abnormal flight conditions.

• Journal of Family Relations
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• v.22 no.3
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• pp.73-101
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• 2017

Objectives: This study is to understand the experiences of overcoming pain of loss of family survivors in Suicide Bereavement Support Group(SBSG). Method: Experiential data was collected by in-depth interview(FGI, individual) to 10 family survivors(over 19) who having an experience participating in SBSG over 5months and analyzed using qualitative methodology. Results: We drew the result that 'SPACE model' which structuralize by 5 stages of suicide survivors' experience of SBSG of time path. SPACE model configured as follow: Stage1, Space in vacuum, the time to feel a sense of overwhelming feeling like pain, fear, alienation after loss of suicide, Stage2, Probing, when to find informations and resources to help survivors themselves, Stage3, Acclimation, having experiences empathy and healing as in SBSG, Stage4, Composure, accepting SBSG meaning as a part of their lives, loss of my family by suicide, and the beginning of bereavement, Stage5, Endurance, overcoming suffering through SBSG and try to help other survivors. Conclusions: SBSG is the opportunity for family survivors to overcome the pains from loss of suicide, shock, anger, grief, etc., and to empower them to help other suicide survivors.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.180-187
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• 2010

The purpose of this study was to examine the application tendency of the western classical style which appears in contemporary performing arts centers. The types of space in performing arts centers were investigated according to the times. There were somewhat fixed stage and auditorium types for each period ; the ancient times had the arena stage and round auditorium, the Renaissance the proscenium stage and the U-shaped auditorium, the Elizabethan period the thrust stage and polygonal auditorium, and the modern times the proscenium and apron stage, the horseshoe and fan type auditorium. Today since the purposes of performance are multiple, a variety of stage types are applied to each performing arts center. They use various spaces and performances of multiple purposes by moving and transforming the stage and auditorium according to the kinds of performance as a variation of the arena and proscenium stage. Recently there appear complex performing arts centers that can plan performing spaces of diverse sizes and forms to fit the functions of a performance in a large building. Since they put on performances in a large space according to the characteristics of the kind of performance, the intentions and goals of the performance are well delivered to the audience.

• Korean Institute of Interior Design Journal
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• no.27
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• pp.120-127
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• 2001

The purpose of this study is to examine the characteristics of space design of Isamu Noguchi's works barred on the stage sets and environmental designs. From the end of 19th century, space which was begun to be studied about in architects has continued to be researched by not only scientists but artists. Recently, space Is expressed in free and new forms due to diversity of societies and advancement of technology, As a result, space has become an essential part in art and is used in the titles of many art exhibitions. This study scrutinizes space in Isamu Noguchi's works. No other 20th century artist has as clear and progressive space conception as Noguchi's. His notion of modern art was modified through space in the tradition of cubism and Russian Constructivism and Bauhaus. Combined with his experience in the traditional Japanese houses and gardens, these influences led toward a broadened conception of sculpture as the creation of living space. These modernist's characteristics are found in his early expression of stage sets for choreographer Martha Graham, and they would lead to a wide range of design activities, from gardens and interiors to fountains and furniture. Isamu Noguchi had created a body of work that crossed the boundary between fine and applied art as a sculptor, and as an environmental designer.