• 한국통신학회논문지
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• 제41권10호
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• pp.1276-1283
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• 2016

국가적 그리고 사회적 피해 방지 노력에도 불구하고 보이스피싱으로 인한 재산 피해의 규모가 좀처럼 줄지 않고 있는 실정이다. 이는 최근의 보이스피싱이 세련된 말투와 전문용어를 사용함으로써 범죄자를 인지하기 어렵게 만들기 때문이다. 더 나아가 개인정보 취득과 실제 관광서등에서 근무하는 종사자들이 실제 현장에서 사용하는 전문용어를 구사하여 젊은 층을 집중적으로 속이고 있는 실정이다. 이는 결과적으로 노년층보다 판단력이 있는 20~30대의 젊은 층의 피해가 급증하고 있는 상황과 직결된다. 이를 위해 본 논문에서는 실제 보이스피싱에 사용된 보이스피싱의 음원과 보이스 피싱 범죄자와 동년배의 일반 젊은 층을 대상으로 같은 문장을 읽고 이에 대한 음성을 비교. 분석을 행하였다. 실험은 2011년 이후 최근까지 보이스 피싱을 행한 범죄자 목소리의 음성적 특징이 무엇인가를 음성의 음높이와 그 대역폭, 음성에 실리는 에너지 및 발화속도, 음색 등을 기반으로 수행하였다. 실험 결과 음성에 실리는 에너지와 발화속도에 있어 의미 있는 차이가 있음을 규명해 낼 수 있었다.

• 한국농촌건축학회논문집
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• 제25권2호
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• pp.43-50
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• 2023

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.

• 수완나부미
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• 제10권2호
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• pp.121-142
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• 2018

Area studies are sometimes framed as focused on specific localities, rooted in deep linguistic, cultural and historical knowledge, and hence empirically rich but, as a result, as yielding non-transferable/non-translatable findings and hence as theoretically poor. In Europe and North America some social science disciplines like sociology, economics and political science routinely dismiss any reference to local specifics as parochial "noise" interfering with their universalizing pretensions which in reality obscure their own Euro-American parochialism. For more qualitatively oriented disciplines like history, anthropology and cultural studies the inherent non-universality of (geographically constricted) area studies presents a predicament which is increasingly fought out by resorting to philosophical concepts which usually have a Eurocentric pedigree. In this paper, however, I argue that concepts with arguably European pedigree - like religion, culture, identity, heritage and art - travel around the world and are adopted through vernacular discourses that are specific to locally inflected histories and cultural contexts by annexing existing vocabularies as linguistic vehicles. In the process, these vernacularized "universal" concepts acquire different meanings or connotations, and can be used as powerful devices in local discursive fields. The study of these processes offer at once a powerful antidote against simplistic notions of "global"/"universal" and "local," and a potential corrective to localizing parochialism and blindly Eurocentric universalism. I develop this substantive argument with reference to my own professional, disciplinary and theoretical trajectory as an anthropologist and historian focusing on Vietnam, who used that experience - and the empirical puzzles and wonder encountered - in order to develop theoretical interests and questions that became the basis for larger-scale, comparative research projects in Japan, China, India, South Africa, Brazil and Europe. The subsequent challenge is to bring the results of such larger, comparative research "home" to Vietnam in a meaningful way, and thus overcome the limitations of both area studies and Eurocentric disciplines.

• 건축역사연구
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• 제32권6호
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• pp.77-88
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• 2023

This research focused on the regional and temporal attributes of tuff architecture in Mokpo, spanning the Japanese colonial period and the post-liberation era. It aimed to uncover the distinct regional and temporal features of tuff architecture by integrating concepts from vernacular architecture and regionalism, framed through a lens of critical regionalism. The study traced the historical progression of tuff architecture in Mokpo within this context. A significant part of the research was an in-depth analysis of four constructions by Son Yang-dong, a renowned technician in post-liberation Mokpo, to closely examine the contemporary relevance and regional significance of his work. Tuff, as an indigenous material, distinctly articulates the local architectural character. In line with regional properties of tuff, the material has adeptly responded to contemporary construction needs. This has laid a foundation for the development of innovative building designs and techniques. Tuff architecture is particularly noted for its exhibition of raw material textures, offering a unique aesthetic that diverges from classical Western architectural styles. Importantly, through the examination of Son Yang-dong's contributions, the study highlights the role of Korean builders in an industry dominated by Japanese influences during the colonial period, underscoring a strong regional identity. As a representation of Mokpo, tuff architecture not only upholds and protects regional identity within the broader scope of Western modernization and Japanese impacts but also plays a role in its progressive enhancement.

• 건축역사연구
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• 제6권1호
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• pp.67-79
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• 1997

Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.

• 한국환경과학회지
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• 제13권2호
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• pp.109-116
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• 2004

Nagan walled town is located on an axis connecting symbolic places, which is a lucky place from the Fengshui point of view because a mountain sits to the rear and a body of water sits to the front. It represents the environmental development of cultural space by blending folk belief, religion, social systems, adminstration facilities and living culture buildings. Therefore, it has a sustainable cultural view connected with a formed or formless religious view and an artificial view (walls, government buildings, living houses, cultivated lands, etc.) in a natural landscape. Environmental design techniques, enlarging the meaning and value of living on a mental level, can be found in the arrangement of space composition and settlement of Nagan walled town. The organised spaces of government and residential areas were constructed within the wall with the view of searching for lucky places (from best, better and good places) in order to construct ecological networks according to the outlooks of space and settlement.

• 한국산학기술학회논문지
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• 제13권9호
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• pp.4310-4318
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• 2012

대량생산을 통한 표준화, 새로운 기술의 구조와 공법, 유동적으로 일체화된 내부공간이라는 특성들로 설명되는 케이스 스터디 하우스의 산업화된 모더니즘적 시각에서 벗어나 이를 지역화된 모더니즘의 시각으로 분석하여 이들 주택들의 공통적인 특성들을 정리하면 첫째, 지역의 환경적 요인과 도시의 수평성에 대응한 다양한 굴절형의 배치형태. 둘째, 파티오라는 독특한 문화를 함축한 내외부공간의 강한 연계성, 셋째 지역산업과 연계된 다양한 재료의 사용을 들 수 있으며 이들은 유럽 모더니즘과는 구별되는 지역성을 다양한 건축의 구성요소들로서 구체적으로 유형화하고 있다.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.93-101
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• 2008

One of the big difference between Aalto and other modem architects lies in an attitude that Aalto went beyond the principle of dogmatic functionalism. As an architect of Northern Europe, Aalto made unique architecture that showed both the language of modem architecture and vernacular architecture. He presented the best example which showed modernity in architecture without losing the meaning of the context including site, region and cultural tradition. With this background, Aalto developed his own typological design approach. As Wolfsburg church was designed in his prime of time, it showed the origin and evolutionary process of religious architecture as well as general features of Aalto's design. Clustered site plan, dynamic space of interior, the adequate control of natural light are representative characteristics found in Aalto's religious architecture. Wolfsburg church also demonstrate these features in more specific way including the continuity of wall and ceiling that showed spatial dynamics, free opening of wall which reflects on functions, and careful adjust of natural light. As a result, Aalto showed his typological design strategy that added new design ideas to the accumulated design vocabularies in the design of Wolfsburg church.

• 대한가정학회지
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• 제25권3호
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• pp.83-94
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• 1987

The floor plan of the folk houses in Korean-Middle area was "-" type, "ㄱ" type and "double " type. The common terms of lifespaces were Anbang(안방), Wootbang(웃방), Cunnunbang(건넌방), Taechung(대청), Maru(마루), Buoak(부엌), Chungji(정지), Sarangbang(사랑방), Bongdang(봉당). 1) Anbang was basically a master room and was a family room. The function of another presented in Anbang was a space of the dying hour, the mourning decorums, and the memorial services. 2) Wootbang, Cunnunbang was terms that coming from the space position. Such spaces were the private rooms of children. 3) Sarangbang was basically the space of a reception of guests. 4) Buoak, Chungji were cooking and working space. Primarily, Buoak was the terms meaned Bootumk(부뚜막) in Chosun dynasty. 5) Maru, Tachung were terms of presented from side of construction. Specially, it was the chief space in family in Summer. 6) Bongdang was a terms of space that mean working areas, entry hall etc.working areas, entry hall etc.

• 한국환경과학회:학술대회논문집
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• 한국환경과학회 2003년도 International Symposium on Clean Environment
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• pp.185-191
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• 2003

Walled town was located on the axis connecting symbolic places, which was a feng-shui lucky place of a mountain sits to the rear and a body of water sits to the front. It represents environmental development of cultural space by blend of folk belief, religion, social system, administration facilities and living culture buildings. Therefore it is sustainable cultural view connected of formed or formless religious view and artificial view(wall, government buildings, living houses, and cultivated land so on) in a nature landscape. Environmental design technique, enlarging its meaning and value of living to mental level was founded from space composition and settlement, which was constructed organized space of government and residence area of walled town within the wall for looking for lucky place(from best, better, and good places) in order to construct ecological network (天+地+人, 山＋水＋方位＋人, 地理＋生利＋山水＋人心) by outlook of space and settlement.