• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.41-53
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• 2017

This study was performed to determine what the plant material were selected to reflect in the 2016 Korea Garden Show designer's garden. It was analyzed that plant material was used to display the theme of the garden and to create a specific space. Under the given theme of 'K-Garden, Shinhallyu Garden(new style garden culture) with the most Korean taste', the plants were used to highlight the theme in two types: 'representation' and 'expression'. There were two 'representation' gardens that imitate a particular space of Korean taste and four 'expression' gardens that showcase the designer's thoughts with abstract concepts and concrete objects. Three gardens included both types of garden. The way of revealing the subject with plants was used more for 'expression' than for 'representation'. There were eleven spaces for 'representation' of the Korean taste, a vegetable garden, faucet, pond, field, nature, a Hanok court garden, groves of bamboo, tile roof, stone wall, rock and backyard of a Hanok connected to the mountain. The planting material was used in two ways: reflecting only the ecological characteristics of the plant, and considering the ecological and visual characteristics together. Vegetation plantings reflecting the ecological characteristics were observed in all eleven spaces. Nine of the spaces reflected the growth environment of the plants, but the other two did not reflect the ecological characteristics of the plants, unlike the designer's intention. In the case of the four spaces that considered the ecological and visual characteristics together, color and size were considered visual characteristics. The plants in the seven spaces that included 'expression' as the theme were selected to reflect the visual characteristics in the order of color, shape, texture, and size, rather than reflecting ecological characteristics. A group planting method was applied. When the plants were used as materials for creating space, Norman(1989) analyzed three enclosure factors(overhead, vertical, ground plane). Only two deciduous trees were used in the overhead plane while five species of evergreen shrubs and thirty species of various deciduous plants were used in the vertical plane. There were forty-five species (nine trees and thirty-six herbaceous plants) forming the ground plane, and various herbaceous plants were utilized without duplication in each garden. The designer's garden of the Garden Show played a role in introducing new groundcover plants to the public. Three of the nine gardens did not include ornamental plants, and the use of decorative plants in other gardens was few compared to the number of plantings. In the Korea Garden Show designer's garden, most of the plants were being used with the intention of exposing the theme or architectural uses. In the 2016 Korea Garden Show designer's garden, many species of plants were used as materials for showcasing themes rather than for creating spaces. Also, the method of 'expression' was used more than the method of 'representation' in order to highlight the theme. This indicates that the planting materials reflect visual characteristics such as color, shape, texture, size rather than ecological characteristics.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• The Journal of the Acoustical Society of Korea
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• v.18 no.1E
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• pp.37-43
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• 1999

This paper deals with a hybrid finite element method for wave scattering problems in infinite domains. Scattering of waves involving complex geometries, in conjunction with infinite domains is modeled by introducing a mathematical boundary within which a finite element representation is employed. On the mathematical boundary, the finite element representation is matched with a known analytical solution in the infinite domain in terms of fields and their derivatives. The derivative continuity is implemented by using a slope constraint. Drilling degrees of freedom at each node of the finite element model are introduced to make the numerical model more sensitive to the transverse component of the elastodynamic field. To verify the effects of drilling degrees freedom and slope constraints individually, reflection of normally incident P and SV waves on a traction free half spaces is considered. For the P-wave incidence, the results indicate that the use of slope constraint is more effective because it suppresses artificial reflection at the mathematical boundary. For the SV-wave case, the use of drilling degrees freedom is more effective by reducing numerical error at irregular frequencies.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.37 no.5
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• pp.359-366
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• 2019

Indoor spatial data has great importance as the demand for representing the complex urban environment in the context of providing LBS (Location-based Services) is increasing. IndoorGML (Indoor Geographic Markup Language) has been established as the data standard for spatial data in providing indoor navigation, but its definitions and relationships must be expanded to increase its applications and to successfully delivering information to users. In this study, we propose an approach to integrate IndoorGML with Indoor POI (Points of Interest) data by extending the IndoorGML notion of space and topological relationships. We consider two cases of representing Indoor POI, by 3D geometry and by point primitive representation. Using the concepts of the NRS (node-relation structure) and multi-layered space representation of IndoorGML, we define layers to separate features that represent the spaces and the Indoor POI into separate, but related layers. The proposed methodology was implemented with real datasets to evaluate its effectiveness for performing indoor spatial analysis.

• The Transactions of the Korea Information Processing Society
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• v.6 no.10
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• pp.2630-2641
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• 1999

Most of the previous game development has proceeded in the approaches of the temporal-oriented synchronization because of producing game objects by using general authoring tools, and ad hoc or trial and error methods has been devised for representation of spatial concept. This paper is a study on the unification notation for spatio-temporal synchronization to conquest this fault. First of all, we classify game space as temporal object, spatial object, absolute/relative spatio-temporal space. The spatio-temporal relationships are divided into temporal extent, temporal location, spatial extent, and spatial location. In the paper the temporal and spatial relationships of game scene are defined to represent the synchronization, and we propose new unification notation by temporal and spatial concept to represent two concepts putting emphasis on space. Their relationships are presented on 3D by creating time axis related with time in scene unit of the two dimensional plane in the pivot on space. The usability of this representation method are shown by applying examples of game scenario.

• Proceedings of the Computational Structural Engineering Institute Conference
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• 2008.04a
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• pp.435-441
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• 2008

Building Information Modelings(BIM) are more complex than typically required for early phase of the design process of a building. Construction projects have many participants from various disciplines involved throughout the entire process. Therefore the success of the project greatly depend on the efficiency of decision-making using the information generated from each process stage. This research utilized an ontology to provide an underlying structure of objects and relationships of a building. The OWL is introduced as a main vehicle to encode the information and knowledge about the building structures and spaces. A case study was conducted to develop a structured representation of an ontology where the relationships among the necessary components in the stage of preliminary design were to be automatically utilized to plan on the sizes of each room in a building and structured thoroughly with a simple structured representation.

• Communications of the Korean Mathematical Society
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• v.9 no.4
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• pp.927-931
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• 1994

Let G be a cyclic group of order 2 and let $S^1$ denote the unit circle in $R^2$ with the standard metric. We consider smooth G-vector bundles over $S^1$ when G acts on $S^1$ by reflection. Then the fixed point set of G on $S^1$ is two points ${z_0, z_1}$. Let $E$\mid$_{z_0} and E$\mid$_{z_1}$ be the fiber G-representation spaces at $z_0$ and $z_1$ respectively. We associate an orthogonal G-representation $\rho_i : G \to O(n)$ to $E$\mid$_{z_i}, i = 0, 1$. Let det $p\rho_i(g), g \neq 1$, be denoted by det $E$\mid$_{z_i}$ since det $\rho_i(g)$ is independent of choice of $\rho_i$.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.186-197
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• 2012

The purpose of the thesis is to answer the question on how the visual image content, being the original content, should be adapted to and represented as a spatial content. The thesis focuses on adaptation as the key in the conversion process of visual image content to a themed space. There are many published studies dealing with storytelling, adaptation from books to movies and TV shows, or from movies to games and vice versa. On the contrary, when it comes to adaptation from visual image content to spatial content, noticeably few studies were done on the method, and fewer studies view adaptation as the prior step of storytelling. This study first defines adaptation, and then applies the methods of Gianetty and Dudley which is further incorporated into the conversion of visual image content into a themed space. It then turns the attention to the characteristics of themed spaces. A case study highlights that a themed space is a spatial representation of the story, image and action in the visual image content, and analyze the type of adaptation made. The study results draws two conclusions; adaptation must be carried out prior to the storytelling of the spatial content; and opposed to a third-person view of the visual image content, the main factor in a themed space is first-hand experience. Thus, the thesis suggests that conversion from visual image content to themed spaces are not merely imitative but is a full range of recreation of a new content. It is expected that more detailed analyses on the particulars will lead to feasible outcome on implementing various methods of adaptation and bring about effective conversions between the visual image contents and themed spaces.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.234-245
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• 2019

In this paper, I examined the representation of post-colonialism focusing on the spaces in Modern Boy and Assassination. These movies represented Bon-jung and Jong-no as a mixed-residence quarter, over the dual city theory, the orthodoxy of geography. It can be interpreted as the birth of a hybrid subject in post-colonialism. The representation of Bon-jong in Modern Boy was centered around Mitsukoshi Department Rooftop Garden, Namsan Music Center and Myeongdong Cathedral. The representation of Bon-jung in Assassination was centered around Anemone Cafe and Mitsukoshi Department Store. Set in the history of the new building the Japanese Government General of Korea in Jong-no, Modern Boy used it as a place of struggle. The representation of Jong-no in Assassination was centered around the mansion of Kang In-kuk, a pro-Japanese collaborator. Modern Boy and Assassination showed the post-colonialism that breaks through modern binary oppositions by a 'female' national heroine. describing Bon-jung as both a mixed-residence quarter and the original home of post-colonialism movement, they also showed a different aspect from the existing Kyung-sung representations.

• Journal of the Korean Mathematical Society
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• v.51 no.2
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• pp.403-426
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• 2014

The purpose of this paper is to find expressions of the Fricke spaces of some basic surfaces which are a three-holed sphere ${\sum}$(0, 3), a one-holed torus ${\sum}$(1, 1), and a four-holed sphere ${\sum}$(0, 4). For this goal, we define the involutions corresponding to oriented axes of loxodromic elements and an inner product <,> which gives the information about locations of axes of loxodromic elements. The signs of traces of holonomy elements, which are calculated by lifting a representation from PSL(2, $\mathbb{C}$) to SL(2, $\mathbb{C}$), play a very important role in determining the discreteness of holonomy groups.