• Journal of Korean Library and Information Science Society
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• v.46 no.4
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• pp.245-269
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• 2015

This study suggested that the concept of creative zone raised by the national interest of the 'Creation' should be extended in public libraries. The concept of creative zone in public libraries was analyzed on the basis of 'Con-creative structure ontology' by Rombach. As we understand a creator and creation as the relation of 'subject'-'object', The current concept of 'Creation' dilutes the possibility of 'Autogenese' that all beings as a subject possess. But 'Con-creative Structure' describes the process of 'Autogenese' through sharing and mutual communication of all beings. The formation process of Con-creative Structure corresponds to the philosophy of the library that supports the self-growth through communication and sharing. 'Co-working Space' is more suitable for the substantive image of Con-creativity than 'Makerspace'. Therefore, this study analyzed circumstances of creative zone in public libraries and Co-working Space in business areas and provided the conceptive and substantive modeling for Co-working Space in public libraries.

• Journal of the Korean Society for information Management
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• v.31 no.2
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• pp.143-171
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• 2014

This study proposes to analyze the concept and introduction of infinite creative space (makerspace) to redefine the roles of existing library spaces. This study also attempts to formulate a suitable program for public library makerspaces by analyzing case studies. Literature review and case study methods are used for deriving the makerspace concept, the evolution of makerspace, the implications posed by makerspace operation domestically and abroad, and the utilization of makerspace. Finally, we suggest story creation programs, topic-based programs reflecting the library characteristics, professional mentoring programs, expert consulting programs, various training programs, patent application support programs, incubator programs, and so on.

• International Journal of Contents
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• v.13 no.2
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• pp.50-56
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• 2017

The number of accidents in school zone is decreasing than before with the introduction of strengthening traffic safety policy since January 2011, but the danger still exists. The School zone sign is widely known to have much effect in protecting children from risks of traffic accidents, but design improvement is being demanded to improve a sense of safety and legibility of safety signs in School zone due to the lack of understanding on the safety signs in crosswalk and School zone. This study analyzed differences in shape and color of existing safety signs through a case analysis of traffic developed countries as America, England, Japan, and Germany and suggested improvement plans for drivers to clearly perceive the school zone. For improvement methods, this study suggested the importance of delivering definite and unified warning message for school zone to drivers by using indication sign and caution sign together, and to use yellow, a safety color, and to unify the safety sign into triangle shape that symbolizes warning and caution to conform the international standards. Actual design production and experiment through improvement plans are needed in the future, and it is expected to secure safety of children and to provide international standardization of safety signs in school zone.

• Proceedings of the KSME Conference
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• 2000.11b
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• pp.698-703
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• 2000

The characteristics of NOx emission in reburning process have been experimentally studied. The design point of burner is creative of three distinct reaction zones; a primary flame zone that NOx producted, reburn zone to reduce the primary zone NOx and burnout zone. Liquefied Petroleum Gas(LPG) was used as main and reburn fuels. Process parameters investigated included main/reburn fuel ratio, primary/secondary air ratio, reborn fuel injector position and different designed quarl. The NOx emission characteristic of aerodynamic designed burner relied on reborn fuel ratio and was slightly affected by a reburn fuel injector position and quarl shape.

• ETRI Journal
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• v.35 no.2
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• pp.352-355
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• 2013

Common stereoscopic three-dimensional (3D) display has a convergence and accommodation conflict that violates the natural human cognitive process of viewing. This weakness exposes the challenge in supporting fun factors while eliminating safety problems in the 3D viewing experience. Thus, human factors have become a major research topic. In this letter, we propose a 3D stereoscopic visualization platform that can expand the sense of a 3D space by fusing organically mixed stereoscopic displays to provide a continuous feeling of 3D depth. In addition, we present pilot test results to show the possibility of the technical implementation of the proposed platform and note ongoing research issues to be addressed.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.210-213
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• 2007

The direction of this project is creates a future and it experiences ubiquitous world. The subject of the space is 'Ubiquitous Creative World' which Imagining the past becomes actuality and imagining in future become actuality and future when it will approach at once. The storyline of this space is as belows; 1 Zone - Ubiquitous life Gallery : it will be able to experience the future world ; home, office, street, school and the others. 2 Zone - Interactive Play Gallery : it will be able to explore the interactive media with information technology ; digital cafe, imagining jump, digital art and the others. 3 Zone - New product and Business Gallery : it composed with business, new product, and demonstration gallery such as public information space. The space concept makes connection and concentration which uses unit and line for world which becomes accomplished by the network. Connection of digital and the human being to make the center of new digital life.

• Hwankyungkyoyuk
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• v.22 no.4
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• pp.53-65
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• 2009

Saemangeum is the largest reclaimed land in Korea. Saemangeum is the large scale project responding to the economic demand of globalization, and a government initiated new development business with a vision of global Free Economic Zone(FEZ). Jeollabuk-province conducted a international competition to establish a global-scale, creative development plan and grow the Saemangeum as an international destination of economy, and a world-wide brand. SGFEZ has much to offer in terms of tourists attractions and breathtaking scenery. And tourism is one of the important industry in SGFEZ. Many tourist facilities will be construct in SGFEZ. Environment is the important issue in many field of study. Recent days, green growth come into the spotlight in Korea. But even as SGFEZ prepares for its future global tourists attraction, so much of the tourism policy directions remains unconsidered. The objective of this study was to suggest tourism policy direction, especially concentrated on ecology tourism policy direction of Saemangeum Gunsan Free Economic Zone(SGFEZ).

• Journal of the Economic Geographical Society of Korea
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• v.19 no.1
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• pp.33-50
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• 2016

Hannam-dong, which lies at the eastern part of Yongsan-gu in metropolitan Seoul has been known as one of the affluent area, but actually it is divided into different sub-areas including poor ones. Although it used to be a quiet residential neighborhood, be they rich or poor, some streets (gil) have become the places of creative economy since the late 2000s. The place-making of Hannam-dong is accompanied by taking-place of different creative classes in different sub-areas, and there have emerged contestation, negotiation and clash among them at the contact zone. While the big companies such as Samsung explores their own version of cultural/creative entrepreneurialism in one sub-area, the actors that can be dubbed as 'creative small producer' and/or 'creative underlass' produce Hangangjin-gil and Usadan-gil as artistic-cum-economic communities by deploying cultural capital. All in all, Hannam-dong is an interesting case that different types of gentrifications are produced by different actors in different sub-areas, which results in producing another kind of 'community of strangers' where different (creative) classes share a physical location, but do not have lasting social interactions and communicative networks.

• Archives of design research
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• v.19 no.2 s.64
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• pp.217-228
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• 2006

It is obvious that the characteristics of the media are related with the visual expression found in film and video shots. It can be assumed that there would be unavoidable distortion when the space and objects are being framed into an image by the camera and that unavoidable distortion can be utilized for creative expression. Therefore the relationship among the shape of filming zone, the structure of the image, and the strategies of disposition of camera, actors, and objects were studied in accordance with expressional attempts found in film and video images. The classified cases of the expressions found in film and video was studied from the view of the dispositions and movements of the physical elements such as camera, actors, and objects which made the designated expression possible. Finally the organization of method to arrange of the elements used for film within film zone was resulted as the expressional directing methods for filming. Later the usefulness of the method was tested by the application of the method in educational procedure and the evaluation of the analysis of the students' results.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.150-169
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• 2012

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of 'architecture for fashion' in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, 'Armani Group', 'PRADA' and 'Comme des Garςcons.'