• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.102-109
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• 2009

In this paper, we present an algorithm which generates the impossible drawings after the manner of M.C. Escher. A class of the impossible drawings, focused on this paper, depicts the non-realistic configuration such that an ascent (or a descent) looks like keeping on permanently with a height-deceptive loop. We analyze the fact that the ascending direction in the non-realistic illustrations comes not from the physical heights of the objects but from the artist's intended forwarding direction about the loop, which does not have any physical sense of depths. The basic idea to support such impossible drawings is to use a loop of layered depth images (LDIs), where several LDIs are arranged along with the forwarding direction of the loop while having the physically constant heights. The height-deception between two adjacent objects comes from the layer values in the LDIs. In this paper, we propose a NPR system which can manipulate a shape of the loop and layer values of the LDIs and demonstrate several impossible drawings results generated by using our system.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.95-104
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• 1999

The Landscape Drawing is the main medium for constructing better environment which provides human beings with a place for dwelling well, even though it has some limitations. To provide places for people's daily lives, by what measure do we design\ulcorner, by what measure do we give dimension\ulcorner, and how can we appropriately measure the place with drawing\ulcorner On any given site, of course, much has already happened, i.e, there is history. Any adequate interpretation of such a site should poetically take into account the present effects of its absent past. The findings to reveal the meaning and methodology of landscape drawings in the environmental design with a case study are as follows: (1) The value of landscape drawings is the poetic, artistic interpretation which we sense and bodily experience through the simultaneous exposure of the site's temporal, spatial, and tactile conditions. (2) The landscape drawing should represent the invisible (imaginary) world as well as the visible (physical) world. (3) There can be classified as two methods in representing the rich experience of a place: expression and notation. Expression is the abstract representation and do not have a direct relationship to construction due to its ambiguous and connotative structure. But notation is constructional due to it's purely objective symbol system which is obviously denotative structure. (4) Collage is a medium of specific act that can represent the complex layered phenomena and the rich experience of given site. (5) The landscape drawings represent not only topographical space which can be measured objectively, but also topic which can be cognized culturally.

• Journal of applied mathematics & informatics
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• v.28 no.5_6
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• pp.1347-1358
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• 2010

An upright drawing of a planar graph G on k layers is a planar straight-line drawing of G, where the vertices of G are placed on a set of k horizontal lines, called layers and no two adjacent vertices are placed on the same layer. There is a previously known algorithm that decides in linear time whether a planar graph admits an upright drawing on k layers for a fixed value of k. However, the constant factor in the running time of the algorithm increases exponentially with k and makes it impractical even for k = 3. In this paper, we give a linear-time algorithm to examine whether a biconnected planar graph G admits an upright drawing on three layers and to obtain such a drawing if it exists. We also give a necessary and sufficient condition for a tree to have an upright drawing on three layers. Our algorithms in both the cases are much simpler and easier to implement than the previously known algorithms.

• Journal of the Korea Society of Computer and Information
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• v.13 no.7
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• pp.127-138
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• 2008

Configuration and data management system for weapon system research and development processes should assist concurrent engineering and collaboration activities for various documents, drawings, part informations and product structure informations. In this thesis we defined the system architecture using the CBD methodology and implemented the component based system development process. Most of the configuration and data management systems consist of three layered system architecture which use the general MVC models. In this thesis we defined four layered system architecture based on EJB structure under J2EE environments. Through the four layered system architecture, we break down the general model layer into two detailed business layers and the ordinary control layer into two system dependent layers. With these four layers, we proposed the methodology that detailed the characteristics of the components. Through the CBD approach and the component based development process, we can get the representation model and implement the actual system of the configuration and data management system for weapon system R&D.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.95-102
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• 2012

The purpose of this study is to analyze characteristics of residential architecture designed by Gwathmey Siegel in terms of their way of composing spaces and forms. Charles Gwathmey, one of the founders of Gwathmey Siegel, is a worldly famous architect who actively developed Neo-Modernistic architecture in his career. For this study, 15 major houses designed by Gwathmey Siegel were selected and analyzed in terms of their approaches on how to compose various spaces and forms, and how these approaches evolved as time passed. The analysis was mainly based on the drawings and photos of the houses published. The main characteristics found in this study can be summarized as follows: elevated LDK level, split-level composition, use of framing structure, layered space, and linear galleries as a spine of circulation with collaged volumes attached. It turned out these characteristics appeared, faded away, or evolved affecting each other. In early days, Gwathmey often elevated LDK level from ground level for providing privacy, views, and also for separating private rooms. Soon they composed spaces by splitting levels. It not only helped provide privacy where needed effectively, but made space composition more interesting. As sizes of the houses they designed grew, Gwathmey came up with the framing idea for expressing his original architectural language in larger scale. With the split-level composition, the framing method represented Gwathmey's in 70's. This framing introduced layers of interior spaces, and the layers started to break down the monumental framing into individual volumes by bringing in linear spine of circulation. These characteristics helped Gwathmey Siegel develop their own architectural language.