• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Clinics in Shoulder and Elbow
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• v.12 no.2
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• pp.150-158
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• 2009

Purpose: With the better understanding of cuff function, partial repair or "force couple repair" for treating massive irreparable rotator cuff tear has gained some popularity. However, there were few reports on the results of partial repair. The purpose of this study was to report the clinical outcome of massive irreparable rotator cuff tears who received arthroscopic force-couple repair or partial repair. Materials and Methods: From June 2005 to Feb 2008, arthroscopic partial repairs were performed for 16 irreparable rotator cuff tears among the 101 large to massive rotator cuff tears that were operated on. Clinical and radiographic evaluation were done at the final follow-up. Results: There were 7 men and 9 women with a mean age of 66.6 years. The mean follow-up period was 27.3 month (range: 15-46). The pain VAS improved from 4.4 ($\pm2.50$) to 2.1 ($\pm2.26$) and the functional VAS improved from 46.9 ($\pm16.64$) to 70.0 ($\pm22.80$). The ASES score improved from 39.0 ($\pm10.80$) to 80.3 ($\pm16.78$) and the KSS score was 81.9 ($\pm16.74$) at the final follow-up. The acromio-humeral distance was 6.6 cm ($\pm1.74$) preoperatively and 6.2 cm ($\pm1.69$) postoperatively without significant change (p=0.3874). The degenerative changes had no statistically progressed (p=0.2663). Conclusion: Partial repair for massive rotator cuff injury patients showed improvement in the clinical score without progression of arthritic change at a mean of 2.3 years follow-up.

• Clinics in Shoulder and Elbow
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• v.12 no.2
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• pp.199-206
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• 2009

Purpose: Our goal for this study was to prospectively evaluate the functional & structural outcomes, by means of CT arthroscopy, of arthroscopic double-row fixation for treating rotator cuff tear. We also attempted to determine the variants that affect the functional & structural outcomes. Materials and Methods: Twenty seven consecutive patients underwent arthroscopic rotator cuff repair with double-row fixation. The average age at the time of the operation was fifty six years. The preoperative and postoperative examinations consisted of determining the Constant score, the score for the visual analogue scale for pain, the UCLA score, the American Shoulder and Elbow Surgeons (ASES) score, as well as a full physical examination of the shoulder. Preoperative MR arthrography was used to evaluate the integrity and atrophy of the rotator cuff. We measured the intraoperative tear size in the sagittal and coronal planes. Postoperative CT arthrography was used at one year postoperatively to evaluate the integrity and atrophy of the repaired tendons and muscles. Results: Preoperative MR arthrography revealed an average 29.22 mm tear size in the sagittal plane and an average 22.72 mm tear size in the coronal plane. Twelve cases of supraspinatus muscle atrophy and two cases of infraspinatus atrophy were observed on the preoperative MR arthrography. The average clinical outcome scores all significantly improved at the time of follow-up. At a mean of one year postoperatively, CT arthrography revealed 48.1% of the shoulders had healed, 11.1% showed incomplete healing and 40.7% showed retear of the repaired tendon. Conclusion: Arthroscopic double-row repair can result in improved clinical outcomes and good patient satisfaction. However, the problems about how to enhance healing of the repaired tendon still remain.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.25 no.2
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• pp.6-14
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• 1980

One of the physiological disease, sudden wiliting of Yushin variety suggested that low sunlight, excessive nitrogen application, and highly reduced soil condions either singly or combined, might be possible causes of the disorder. Some visual symptom of sudden wilting are discoloration of leaves, development of nodal roots above the soil surface, total root rot, and lodging. Those observations led to the hypothesis that suffocation of root tissues was a direct cause of the wilting. The oxygen transport characteristics of Yushin, IR262 and Tongil were examined by two methods. First, Soil-cultured plants of the three varieties were subjected to paraffin treatment to decrease the oxygen supply from the air to root tissues through the soil-water system, liquid paraffin was applied to the water surface in the pots at panicle formation stage. In this experiment, sudden wilting was observed of Yushin and IR262 at about a week after the treatment, but Tongil remained green and healthy. Wilting-resistant variety Tongil had higher oxygen release, whereas the susceptible Yushin and IR262 had lower oxygen release. Second, the number and size of the air spaces in each internode were investigated in the 5th internode from the top, all three varieties have a similar number of air spaces, although the air spaces of Thongil were larger. In the 4th internode, Tongil had plenty air spaces, Yushin and one of the Yushin's parents IR262 had scanty or none. The observations indicated that the ability of Yushin and IR262 for oxygen transport is very limited compared with that of Tongil. The limited oxygen supply due to poor development of air space in internode of rice plants may cause suffocation of root tissues, weaken metabolic activity of the tissues, and induce root rot, subsequently inducing sudden wilting and lodging under unfavorable weather, soil and cultural conditions.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Archives of design research
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• v.19 no.2 s.64
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• pp.31-42
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• 2006

This study originates from the following critical mind; what will the office of the future be like? and what technology will we rely upon most to communicate with colleagues or to access business information. In the office environment today, new technology has compelled new work paradigm and has greatly affected the capabilities of the individual to work in a more productive and efficient manner. However, even though new computer technology has changed the business world so rapidly, it is very difficult to see the changes that have been taken place. As an aim of the study, creating a mobile tool for office workers that successfully supports their work and communication was explored, and this study explored future work environment with a 5 years technological and social perspective. As a result of this study, the bON brings new visions to the mobile professionals via various interfaces. The bON, a mobile device, is both a system of work and of communication for office workers. The bON, as an integrated tool for working and communicating, forms the basis for a mobile information gateway that is equally capable of functioning as a mobile desk. The basic underlying idea is that all formal meeting places and hallways in the office are equipped with large wall-mounted screens. The bON collaborates with these media in various ways to enhance productivity and efficiency. The main challenge for the bON to enhance both mobility and quality of information is using new technology including bendable and flexible display and soft material display and sensors. To answer for the strong needs for mobility, the whole size of the device is fairly small while the screen is rolled inside the device. For Graphical User Interface, moreover, a new technique called Multi-layering Interface was adopted to stretch user's visual limits and suggests new direction in designing mobile device, equipped with small size display.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.

• Archives of design research
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• v.17 no.1
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• pp.339-346
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• 2004

Matrix, produced by Larry & Andy Wachowski, was relatively precisely dealt with the cyber world. After the movie was released, it had a mania for the movie and was adopted into a various forms of cultural products. It was remade not only into the parodies of the other movies and TV programs, but also the clothes and miscellaneous items of the movie were reincarnated as an unique cultural trend. The cause of the popularity is the fresh storyline as well as the sophisticated visual effects and good-looking actors. The agony of the protagonist was connected with the people outside the movie who are yearning for the ideal world. He was confused at the fact that his circumstances which were believed as the real world were not tortally true, complicated between the sensually phisical truth and the spiritual truth and had an will for the freedom that would ransack the truth and save the other people from the fictitious world. Consequently, the movie has got sympathies with many audiences suggesting the situation that has no a firm belief of the reality, the difference between the real and the cyber world is meaningless and the faked images of the high-technology are overturned This thesis tries to study the present that the real images are excessly duplicated and consumed, related to the Jean Baudrillard's theory, 'Hyperreel'. Replaced the real objects by a technical programming in the Matrix world, there happens the image-violence that the true nature is slaughterred by images. In the world where the reproducts are more actual than the reality and pretends to be real, only semiotics are consumed and produced. That is to say, the tortally programmed images has no references and aims, therefore should be produced in an 'impediment-strategy' like a faked crisis. That is the step of 'Simulation' that artificially reincarnates the real. Based upon the Baudrillard's theory, 'Simulacre', this study tries to research today's post-modern situation that the boundary of the real world and the faked copy is vague and vanishing, through the analysis of the cyber world of the movie 'Matrix'.