• 건축역사연구
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• 제15권3호
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• 미술이론과 현장
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• 제9호
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• 디자인학연구
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• 제18권1호
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• pp.263-272
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• 2005

그림책화면에서 구도는 조형요소들의 놓여진 위치와 배열에 따라 어린이의 심리적 반응을 불러일으키고, 이야기내용에 따른 주제와 배경의 관계, 등장인물의 움직임 등을 전달하는 시각적 진술방식이라고 할 수 있다. 본 연구는 어린이그림책의 화면구도가 시각적 심리적으로 어린이에게 어떻게 작용하는지 분석하기 위하여 먼저, 어린이의 지각발달과 지각경험이 어린이의 연령에 따라, 그리고 어린이마다 과거의 경험, 심리작용, 생리적 욕구, 감정상태, 성장환경 등에 따라 다양하게 나타나는 것을 살펴보았으며, 시각적 심리적 지각은 4세에서 7세까지 전조작기에 해당하는 어린이를 발달심리학을 중심으로 선행연구자의 이론을 지각특성과 지각과정으로 접근하였다. 또한 실증조사를 통하여 분석한 내용을 조화롭고 효과적인 화면구도방식으로 유추하기 위하여 국내외에서 제작된 어린이그림책의 사례를 제시하였다. 끝으로 본 연구가 제시한 결론은 일러스트레이터의 개성과 창의성이 바탕이 된 화면제작에 도움이 됨은 물론, 일러스트레이션을 배우는 학생들의 효과적인 표현방법연구와 실험에 활용될 것으로 사료된다.

• 한국조경학회지
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• 제43권6호
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• pp.52-61
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• 2015

개인적 거리는 동시대 도시민들의 개인적 공간과 영역성, 사회심리적 수용력에 영향을 미치는 환경심리학의 기초개념 중 하나이다. 따라서 본 연구는 대표 조경공간 중 하나인 도시공원을 대상으로, 국내 최초로 벤치이용자들의 이용행태 및 개인적 거리를 분석하고자 한다. 이를 위해 본 연구는 여의도 공원의 벤치 이용자들을 대상으로 Blind observation과 Pictorial analysis를 도입하여 연구를 진행하였다. 주요 연구결과, 남성과 여성그룹의 경우 평균 개인적 거리가 47.5cm로 가장 짧았고, 여성 집단의 경우 53.2cm, 남성집단의 경우 70.3cm로 나타났다. 이러한 연구결과는 이전 서양인들을 대상으로 한 개인적 거리 연구들을 대부분 지지하지만, 일부의 경우 한국인이 개인적 공간과 영역성이 더 좁을 수 있음을 시사한다.

• Asian Pacific Journal of Cancer Prevention
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• 제17권sup1호
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• pp.71-78
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• 2016

Printing of pictorial health warnings (PHWs) on cigarette packages became obligatory by the Vietnam Law on Prevention and Control of Tobacco Harm in May 2013. Literature from high-income countries suggests that PHWs motivate smokers to quit smoking although their long-term effects have been questioned due to reduction of impact over time. This study aimed to assess the salience of PHWs and smokers' reactions towards PHWs over time. In May 2014 and May 2015, a cross-sectional questionnaire-based household survey was administered to respectively 1,462 and 1,509 Vietnamese male smokers aged 18 to 35. The result showed that salience of the PHWs 2 years after the implementation was higher than at the point of 1 year after the implementation. The proportion of respondents who tried to avoid noting the PHWs was reduced from 35% in wave 1 to 23% in wave 2. However, "Tried to avoid looking/thinking about the PHWs" increased 1.5 times the odds of presenting quit intention compared to those respondents who did not try to avoid looking/thinking about the PHWs (OR=1.5; 95%CI: 1.2-2.0). In conclusion, avoidance regarding PHWs may not work as a barrier when aiming at a higher level of quit intention. Salience of the PHWs may increase in the period shortly after their introduction onto packs but can be expected to decrease with time. In other words, it might be advisable to change or renew PHWs after a period of implementation to maintain their beneficial effects.

• 복식
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• 제57권1호
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• pp.118-129
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• 2007

Overflowing of fashion information that is derived from the development of various mass media has rather hindered adopters from appropriately screening fashion information. Thus, responsibilities of fashion journalists who play a role of communicating fashion information have become heavier. Fashion journalism may be defined as 'delivery of modes and involvement in production and logistics'. Since it connects fashion and culture industries with the public by reflecting fashion from diversified perspectives, the role of fashion journalism should never be overlooked in terms of culture as well as industry. This study analyzes fashion journalism from fashion-advanced country by reviewing the fashion journalism from the US, which is so-called fashion-advanced country and analyzing the contents of Vogue USA. This study made a historical review of fashion journalism through a reference study, and from a total of 24 volumes of Vogue USA from January 2004 through December 2005 classified articles by functions, tones, contents, and brands, pictorial records by functions, images, and brands, and ads by brands, quantitatively analyzing them. Further, through a case study it explored those articles and pictorial records which featured national characteristics in the USA, and examined how the fashion journalism in the USA imaged the fashion in the country. In addition, it tried to elicit the characteristics of fashion in the USA as a conclusion by categorizing those images while reviewing previous studies. The results show that Vogue USA features American fashion definitely. Thus, consequently it is easy to find images of American fashion in pictorial records, let alone categorizing them.

• 한국콘텐츠학회논문지
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• 제10권5호
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• pp.202-209
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• 2010

오늘날 우리는 넘쳐나는 정보시대에 살고 있으며, 이는 잡지부분에 있어서도 예외가 아니다. 본 연구는 국내 3대 라이선스 남성 잡지에 관한 연구로서 남성 잡지사별로 고유한 잡지의 성격을 파악하는데 연구의 목적을 둔다. 따라서 구체적인 연구 방법은 잡지 지면 구성 비율의 통계를 토대로 실질적인 연구를 실행하였다. 왜냐하면, 모든 잡지는 자사가 추구하는 지향점을 기사나 화보에 의한 지면 구성을 통해 실천하기 때문이다. 연구의 결과 국내 3대 라이선스 남성 잡지의 지면 구성 비율 중 가장 높은 비중을 차지한 것은 광고 비율로 평균 37.5%로 나타났으며, 패션에 관한 기사나 화보가 평균 26.8%의 비율로 그 다음을 차지하였다. 따라서 지면구성의 비율로 파악된 국내 라이선스 남성 잡지는 패션잡지로서의 성격을 지니고 있으며, 각 잡지사가 추구하는 잡지 컨셉을 기초로 조금씩 다른 지면 구성으로 발행됨을 파악할 수 있었다.

• 한국지역지리학회지
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• 제6권3호
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• pp.83-99
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• 2000

이 논문의 연구목적은 초등학교 아동의 사회 교과서 내용 중 지리영역 학습내용구성의 개선에 기여할 수 있는 기초자료를 제공하는 데 있다. 이러한 목적을 위하여 공간인지발달이론을 초등학교 학생의 그림분석을 통해 검증하였다. 분석의 결과, 공간의 조작능력은 연령의 종가와 더불어 형상적 공간에서 투영적 공간을 거쳐 기하학적 공간을 조작하는 과정으로 진행됨을 알 수 있었다. 이는 피아제와 인헬데르의 인지발달이론에서 주장하는 바와 일치하였다. 그러나 그들이 제시한 각 조작기별 해당 연령은 실제와 비교하면 조작기 구분의 엄밀한 기준이 되지 않음을 보여 주었다. 그 이유는 같은 연령의 아동간에도 현격한 개인차를 지니기 때문이다. 이와 같은 연구의 결과는 지리 교육적으로 다음과 같은 시사점을 제공한다: 첫째, 초등학교 3학년 교과서의 내용 중 사진과 그림지도와 삽화 등이 아동의 지적 수준에 맞는지 의문스럽다. 둘째, 3학년 아동에게 그림지도를, 4학년 아동에게 실측도와 유사한 지도를 직접 그리게 하는 것은 기하학적 공간의 조작에 속하므로 큰 무리가 따른다.

• 한국의상디자인학회지
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• 제16권2호
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• pp.101-109
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• 2014

Bangryeong generally means rectangular collars at present. However, it is estimated that there would be Bangryeong in different shapes besides rectangular shape in ancient times, but there is no accurate evidence. The dispute on the shape of Bangryeong started with the records in Yegi(禮記) and Simui written during Zhou period, China, the oldest records on Bangryeong. However, there are no remains or paintings(pictorial data) accurately proving the different shapes of Bangryeong. While the new shape of Gokgeop(collar of Simui) was mentioned by Zhu Xi during Song period, it was not accurately verified. There are almost no literature, excavated objects or pictorial data on the shapes of Bangryeong which are not definitely identified. The shape of Bangryeong is identified to a certain extent by objects excavated or pictorial data during Yuan and Ming period. There will be definite reasons why Zhou Xibao and Hua Mei, the scholars in China, the y-shaped collar rolled on the chest among the objects excavated during Warring States Period as Bangryeong or Guryeong. Thus, this paper investigated the notes and description in Yegijeongui(禮記正義) and the records and notes during the Han period which are mentioned most frequently except Yegi among the records on Bangryeong. Accordingly, this paper identified that there are different shapes of Bangryeong except rectangular shape during the Han period. It is estimated that Bangyeong at that time had symmetric collars, the collars of Jikryeong which are not overlapped. The collar section after the neck section was straight. It was also said that Bangyeong was women's clothing. In other words, Bangyeong in the Han period suggests that the collar of Jikryeong was Bangryeong. As discussed above, Bangryeong has the long history and different meanings by period. However, it is very difficult to accurately define Bangryeong because there are almost no records on it. Nevertheless, Bangryeong will be discussed more in further study.

• 대한영상의학회지
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• 제82권3호
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• pp.575-588
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• 2021

면역글로불린 G4 (immunoglobulin G4; 이하 IgG4) 관련 질환은 특징적인 병리 소견을 동반한 섬유화를 일으키는 전신 염증성 질환이다. 영상검사는 IgG4 관련 질환의 진단 및 치료 반응 평가에 필수적이다. 본 임상화보는 IgG4 관련 질환의 다양한 임상 증례를 통해 영상 소견 및 감별진단을 제시함으로써 IgG4 관련 질환에 대한 이해의 폭을 넓히고자 한다.