• Journal of the Korean Institute of Educational Facilities
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• v.26 no.6
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• pp.19-27
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• 2019

This study aims to design educational space that will respond to changing educational curriculum and creative educational activities. The study was conducted with user centered design method in which students and teachers who actually use space participate directly in space design, moving away from the one-sided approach by experts. The design of educational space, which is the subject of this study, was carried out by the opinions of users and the opinions of users were collected through the descriptive and mapping measure forms by analyzing previous researches and actual space cases on user centered design. Based on the opinions collected by the survey form, total four spaces, Type A, two Type B, and Type C, were designed. The fact that the user directly commented on the space plan to be used and actually participated in the space design would be helpful for users' deep interest in the results of this study and students' academic improvement.

• Journal of Smart Tourism
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• v.1 no.4
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• pp.31-42
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• 2021

Commercial space tourism is being developed and this trend is expected to continue and accelerate. Although opportunities and threats of space tourism attracted the interest of academia, literature on potential demand, attitudes and people's motivations for space tourism is scarce. In this context, this paper investigates young generations' interest and motivations towards different forms of space tourism. The cluster analysis on 2,207 respondents highlighted an interest in space tourism although motivated by different reasons, levels of budget and sustainability aspects. Interest in space tourism varies according to how far it is perceived as potential, possible or sustainable, or to people's personal feelings. The paper adds to contributions in the tourism field by investigating the opportunities space can offer this industry.

• Journal of the Korean housing association
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• v.13 no.5
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• pp.31-42
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• 2002

This comparative study between Korean and German housings aims at understanding different structural systems in the indoor and outdoor spaces, depending upon the user′s perception of the socio-cultural attributes. The analysis starts with four alternative contrary assumptions, that appear in morphological forms of dwelling; 1) linear distribution vs. areal distribution of residential districts, 2) mirror system vs. comb system in the layout of plot plans 3) organization of front vs. back outdoor spaces and 4) opening vs. closing in the indoor spaces. A clear difference is found between Korean and German samples in view of public and private relationships between indoor and outdoor spaces as well as the intermediate space. In the korean housing there always exists a symbolic and psychological territory of a certain sphere. On the other hand, outdoor space passes through various phases only to form a certain hierarchy even in a private space and, thereby, sets a boundary between private and public areas. In the case of Germany, the building itself draws a clear line between private and public outdoor spaces, and therefore the outdoor space has a "front" and "back". Thus, Germany′s private space may face a genuine public space and street, which is rare in the Korean housing. Although the layout of indoor space in the korean housing tends to be open, such an openness may be outstanding in living and dining spaces, kitchen and various accesses to rooms. In the case of Germany, such indoor spaces are usually closed to each other. Thus corridors act to separate these spaces. Such differences are analysed to be due to the different perceptions of interpersonal and socio-cultural attributes as intra-family and inter-neighbor relationships or communications.

• The Journal of Art Theory & Practice
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• no.9
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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.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.254-263
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• 2012

This study found out the change of spacial form of detached house in Korea on a 10-year basis from 1980s though analysis on the architecture of each period. For the subject houses of this study, the detached houses introduced repeatedly as excellent cases in technical journals for architecture were collected among those completed by architects who designed numerous houses and a survey was conducted on 18 detached houses of 18 architects among the in urban style houses in Seoul and suburban style houses in the suburbs of Seoul. Through this study, it could be found that, as the morphological application of traditional architecture was settled with spatial concept, the external spatial form of the detached houses in Korea after 1980s was changed to westernized form but the internal spacial form had been continuously changing suitable to our emotion by reflecting the living habit and taste with the traditional attitude to perceive and accept the nature. As for the change in the forms of interior space, vertical space with more than two floors became common. Front porch and stair hall, which were located at the center of a house and became an important spacial element that overlapped family's moving line, changed to open and bright space that used transparent glass and increased the space to contact the open air, reflecting our living habit and taste that preferred the feeling of internal openness. A Private space, main room, was more segmented and luxurious, and a public space, living room, secured the independency by getting close to symbolic yard. As for the change in the form of exterior space, the form of façade window has been changing in its location and size and brought free images due to the advancement of technology and material. The shape of roofs was borrowed from western style and a lot of geometrical forms that break away from the concept of angle rater and eaves are appearing.

• Bulletin of the Korean Mathematical Society
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• v.52 no.5
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• pp.1621-1630
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• 2015

In this paper the notion of Lie derivative of a tensor field T of type (1,1) of real hypersurfaces in complex space forms with respect to the generalized Tanaka-Webster connection is introduced and is called generalized Tanaka-Webster Lie derivative. Furthermore, three dimensional real hypersurfaces in non-flat complex space forms whose generalized Tanaka-Webster Lie derivative of 1) shape operator, 2) structure Jacobi operator coincides with the covariant derivative of them with respect to any vector field X orthogonal to ${\xi}$ are studied.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.88-95
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• 2003

The paradigm of contemporary times became different from paradigm of modem times. The change of paradigm is caused by the side effect of paradigm of pre-times. It could be said that contemporary paradigm is pluralism. In the forms of contemporary building and interior design, the informal form is the result of pluralism. This study is researching and analyzing the informal design tendency in the interior space composition of contemporary architecture. the 1950's free form movement, 1960's Informal movement and pluralism after 1970's affected the latest informal forms. The tendencies of contemporary informal design are organic-degital tendency and deconstructive tendency. Along this two kinds of tendencies, I studied the specific characters in expression and analyzed some natural-degital, deconstructive building.

• Bulletin of the Korean Mathematical Society
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• v.61 no.1
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• pp.247-262
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• 2024

In this paper we introduce and study the notions of topological sensitivity and its stronger forms on semiflows and on product semiflows. We give a relationship between multi-topological sensitivity and thick topological sensitivity on semiflows. We prove that for a Urysohn space X, a syndetically transitive semiflow (T, X, 𝜋) having a point of proper compact orbit is syndetic topologically sensitive. Moreover, it is proved that for a T₃ space X, a transitive, nonminimal semiflow (T, X, 𝜋) having a dense set of almost periodic points is syndetic topologically sensitive. Also, wherever necessary examples/counterexamples are given.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Communications of the Korean Mathematical Society
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• v.27 no.4
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• pp.771-780
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• 2012

We study biminimal curves in 2-dimensional Riemannian manifolds of constant curvature.