• 복식
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• 제50권2호
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.

• 한국실내디자인학회논문집
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• 제9호
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• pp.38-48
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• 1996

The purpose of this paper is to study the artistic characteristics of light and adjustment in space, and how meaningful this integral phenomenon is to human beings , whin a space is transformed into a dynamic subject by light. When we create a very unique space we need to adjust light in all environments and must recognize the substance of light in all human spaces. The study of interior design is dependant on the existence of these lights in space. Light plays a very integral role in life having great contingency in the artistic characteristics represented in space. Light is a non-materialistic substance. However, when this substance is realized as a materialistic , light has a very visual effect, having a pleasing and satisfying effect on humans. The artistic characteristic of light in interior space are represented through elements of tranquility , direction . recognition, symbolism , and design. Light has a limitless amount of potential for giving humans boundless possibilities in space and expression . By studying psychological and physical aspects of the flow of light we are able to enjoy its fruitful benefits in the space of interior architectural design.

• 가족자원경영과 정책
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• 제4권1호
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• pp.59-68
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• 2000

Everyone lives in a home. We pursue happiness and the meaning of life through home life or family life. Home life, therefore, has an important meaning in the whole life, But home life can be sustained only through housework and wage labor. All human activities can be divided into two kinds of activities. The one has intrinsic value, the other has extrinsic value. Housework belongs to the activity with intrinsic value, but wage labor belongs to the activity with extrinsic value. In view of home life, housework has primary meaning, and wage labor has subsidiary meaning. In other words, wage labor is only means of home life. We mush not forget that important fact. But we cannot help thinking that nowadays people consider wage labor itself as an aim of life. It is said that we are achieving self-actualization through wage labor, but it is not ture. To tell the truth, most of us are experiencing self-alienation in job. We must recover the legitimate relation between housework and wage labor. Wage labor is means of home life, therefore it is on the extension line of housework. If we achieve happiness through home life, we must recognize that wage labor is only means of home life, not an end in itself.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.23-34
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• 2012

After the modern age, the rapid urbanizationhad a big impact on the then architecture. R. Venturi and A. Rossi are two of the leading architects, developing architecture in cities in the US and Europe respectively. This study shed light on a tangible and intangible meaning and interpretation of urban landscapes through their architectural thoughts and architectures. The followings are the physical and intangible meaning and interpretation in architectural thoughts and works of those two architects. Venturi understood that iconological landscapes at the roadside in large citiesare the nature of physical landscapes. To Venturi, the façades of buildings at the roadside are a part of signage such as traffic lights and road signs, and those façades have the meaning of symbolic systems beyond simple physical landscapes. To A. Rossi, types of buildings as physical townscapes are a key role supporting raw data of classification in architecture. And also, those types have significance of the basic data shedding light on the principles and history of cities. For intangible factors in R. Venturi's architecture, daily routine, function and use, time, a use for a building and others form complex architecture. And also, those factors describe shared values of the same period as the façades of buildings and complex symbols and formative lexicons in metaphorical terms. For A. Rossi's intangible factors, 'collective memory' is buried in inhabitants of the city, and with that, the city is a place for memory to its inhabitants. What is more, cities' monuments have intangible landscapes like 'sustainability', 'permanence' and so on. With lots of events happening throughoutcities, those monuments are the whole images of cities giving the value to the urban buildings that reside in cities. Finally, R. Venturi's all-encompassing complex architecture concept was extended on a tangible and intangible point of townscapes. It was found that A. Rossi's tangible thought was formed from the whole landscape of historic cities in then Italy as the background of time and place. Also, With types of urban buildings and 'collective memory', A. Rossi drew architectural norms and formats of unchangeable types.

• 한국작물학회지
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• 제47권4호
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• pp.292-296
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• 2002

Soybean seeds were treated with blue, red and far-red lights for 0, 6, 12, and 24 hours during 24-hour imbibition before culture for 6 days. The soybean sprouts raised were classified by their hypocotyl lengths; normal (＞4cm), abnormal (＜4cm) and non-germination, and their lateral roots, hypocotyl diameters and component dry weights were measured. Red light treatment and dark imbibition reduced the abnormal soybean sprouts more than far-red and blue light treatments, meaning that the former treatments produced more commercial sprouts. The lateral roots were more formed in blue light and dark imbibition than the other light treatments, but were completely blocked by any light treatment lasted during the whole imbibition. Although any light quality treatment did not influence their primary root lengths, blue light one lengthened the hypocotyl more than the others treated during the imbibition, and far-red light enlarged its diameter. Despite this morphological change, component, total or economic yield was not significantly different among the light quality treatments during the imbibition.

• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.145-153
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• 2006

'색채는 우리의 의식과 상관없이 긍정적 혹은 부정적으로 우리에게 영향을 미치는 에너지이다.' 라고 이텐(Johannes Itten)은 말했다. 우리가 자연에서 보는 색채는 감정에 우선적으로 강하게 작용한다. 이러한 색채의 경험은 우리에게 상징 또는 도상으로 다가오며 인간의 심리를 알레고리로 표현하게 된다. 애니메이션의 색채는 영상매체가 갖는 시각적인 요소이자 중요한 의미작용을 하는 이미지이며 빛의 속성이자 가장 먼저 눈에 들어오는 시지각적 요소이다. 형태, 움직임, 명암 등과 같은 조형요소와 함께 색채는 인간과 인간 주변의 상황을 표현하는 매체로서의 중요한 기능을 한다. 애니메이션에서는 캐릭터의 심리적 변화 상태뿐만 아니라 처한 상황을 암시하기 위하여 색채를 상징적으로 사용한다. 심리적 의미전달은 색채의 상징성을 도상(icon)적으로 표현하게 된다. 따라서 애니메이션의 이미지 표현을 위한 색채는 의미전달을 위한 보편성을 띠게 된다. 본 연구는 색채의 상징적 의미가 작품에 어떻게 반영되었는가에 초점을 맞추었다.

• 한국게임학회 논문지
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• 제8권1호
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• pp.41-48
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• 2008

색에 대한 연상이 발전하여 어떤 통념을 형성하게 되면 그 객에는 상징적인 의미가 부여된다. 색이 구체적 사물 이외의 추상적인 개념이나 표상, 감정 등을 형성하고 있는 것을 '색의 상징성'이라고 한다. 게임의 색채는 게임에 몰입하게 하는 시각적인 요소이자 중요한 의미작용을 하는 이미지이며 빛의 속성이자 가장 먼저 눈에 들어오는 시각적 요소이다 형태와 움직임, 명암 등의 다른 조형요소와 함께 색채는 인간과 인간 주변의 상황이나 감정을 표현하는 매체로서의 중요한 기능을 한다 게임에서는 캐릭터의 심리적 변화 상태뿐만 아니라 상황이나 분위기, 힘의 속성과 강도 등을 암시하기 위하여 색채를 상징적으로 사용한다 이러한 의미전달은 색채의 상징성을 도상적으로 표현하게 된다. 따라서 게임의 이미지 표현을 위한 색채는 의미전달을 위한 보편성을 띠게 된다. 본 연구는 색채의 상징적 의미가 게임에 어떻게 반영되었는가에 초점을 맞추어 살펴보고자 한다.

• 한국실내디자인학회논문집
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• 제27권2호
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• pp.196-203
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• 2018

The background of this study was the fact that the religious spaces require sacred space devices in addition to aesthetic aspects. This study began with the definition that 'philosophical phenomenology provides one of the theoretical frameworks for religious phenomenology'. Seeing that 'philosophical phenomenology has limitations in drawing out the characteristics, this study attempted to study religious spaces through the method of specialized and refined religious phenomenology for the religious spaces alone. The purpose of this study was to understand the characteristics of religious spaces and the fact that the religious spaces are divided into 'profane' domains and 'sacred' ones and to analyze the characteristics of space and light in terms of religious phenomenology through Dutch religious architect Dom Hans van der Laan's architectural projects of monasteries. The study method was to present the relationship between space and light in terms of religious phenomenology and to summarize Van der Laan's interpretational method of the religious spaces through the architect's life and architectural philosophy.The conclusion of this study was that Dom Hans van der Laan's entire works were judged to have sufficient research value in studying the religious spaces as they were all created in the special category of 'religion'. With his project, it is possible for us to study 'hierophany' as experience of space and light through the methodology of religious phenomenology. This study has significant meaning in that it introduced an architect of religious spaces and a related new view on architecture.

• 한국정보통신학회논문지
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• 제26권12호
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• pp.1934-1937
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• 2022

The meaning of crosswalks and traffic lights in modern society has changed a lot as the enforcement of traffic signal violations has been strengthened. In this paper, we present a new next-generation traffic light method using radar and Can-bus communication methods suitable for the new traffic signal enforcement system. This method is a system that prevents accidents by transmitting information on the entry of a person and a car to a traffic light in a place where a person and a car passing through a mutually invisible traffic light cannot be seen. Since this system has only been developed for a month, it may be somewhat lacking in experimentation. However, in just one month, there have been no incidents except for a few people where the system has been installed.

• 대한교통학회지
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• 제21권6호
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• pp.67-73
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• 2003

본 연구는 기존의 신호등의 시각적 인지도를 향상시켜 운전자의 인지실수를 예방하고 안전운전을 도모하기 위해 보조녹색신호가 추가된 신호등에 대한 연구를 수행하였다. 기존의 3색, 4색 신호등과 보조녹색신호를 추가로 제시한 3색, 4색 신호등을 자동차 모의실험장치를 통하여 비교한 결과 두 가지의 신호등간의 유의한 차이가 있는 것으로 나타났다. 이러한 결과는 개선된 신호등이 현장 적용시 운전자가 스스로 의식하지 못하는 상태에서 제동시점을 다소 앞당겨준다는 점에서 안전운전에 기여할 수 있는 가능성을 보여주었다. 본 연구 결과는 실제 운전자의 반응을 비교함과 동시에 주관적인 행동반응을 조사함으로써, 연구결과의 실제 적용가능성을 제시하였다는데 그 의의가 있다고 할 수 있다.