Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art . The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism ‘the movement’ introduced ready-mades and installations (Jim Supangkat) . Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's generation like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as “rebellion period”; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express “new language” and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors?space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

본 연구는 지붕개폐형 구조물에서 지붕을 개폐함으로써 나타나는 음장의 특성변화를 파악하기 위하여 1/20스케일의 축소모형을 제작하고 이를 대상으로 개폐율을 조절하면서 음장변화를 측정 분석하였다. 공간의 음향설계 시 사용되는 기존의 설계 및 평가파라메타들을 검토한 결과, 잔향음의 감쇠과정이 비선형적이며 기존의 잔향감 평가파라메타인 잔향시간에 의해서 적절한 설계 및 성능평가가 이루어지기 어려울 것으로 분석되었다. 특히 비선형적 감쇠구간에 대한 선형적 curve-fitting에 의해 실제 청감과는 거리가 먼 매우 긴 잔향시간이 도출되어 실질적인 효용성이 의심된다. 따라서 잔향시간(T30)을 음향설계 및 평가과정에서 중요설계변수로 활용 시 완공 후 얻게 되는 음장특성과 상이한 결과를 초래할 가능성이 있다. EDT의 경우 전체적으로 초기감쇠시간은 개폐율이 증가할수록 짧아지는 경향을 나타내었다. 주파수별로 저주파수대역에서의 감쇠율이 가장 높게 나타났으며 고주파수 대역으로 갈수록 감쇠율은 둔화되는 것으로 평가되었다. 명료도 관련 파라메타인 D50 또한 개폐에 따른 음장의 변화를 효과적으로 나타내고 있는 것으로 분석되었다. 객석부위별로는 지붕개폐면에 직접 노출되지 않는 객석에서 개폐율 증가에 따라 선형적인 감쇠현상이 나타나고 있으나, 직접 노출되는 객석의 경우에는 40%이상의 개폐율에서는 명료도와 잔향감에 영향을 거의 미치지 않는 것으로 나타났다.

본 논문에서는 투영공간변환기법을 이용하여 초고속 DSP camera 기반의 multi-head형 3차원 레이저 스캐너로부터 정확한 3차원 영상을 추출하는 방법을 제안하였다. 실험결과 투영공간변환기법을 적용할 경우 레이저 기반 3차원 스캐너에서 실제 좌표축과 영상 좌표축 사이의 차이에 기인한 비선형 왜곡을 현저하게 감소시켜 registration과 merging후 전신스캐너의 출력 영상의 질이 현저하게 개선될 수 있음을 밝혔다.

State-space method for the analysis of the dynamic characteristics of a body motion is set up as mathematical tool for the solution of differential equation by computer. Representation of a system is described as a simple form of matrix calculation and unique form of model is available for the linear or nonlinear, time variant or time invariant, mono variable or multi variable system etc. For the analysis of state-space method a complicated vector calculation is required, but this analysis can be simplified with the specific functions of a software package. Recently as the Graphical User Interface softwares are well-developed, then it is very simplified to execute the simulation of the dynamic characteristics for the state-space model with the interactive graphics treatment. The purpose of this study is to develope the simulator for the analysis of the lateral and directional dynamic characteristics of an aircraft that is primarily to execute the simulation for the analysis of the transient response of an aircraft lateral and directional stability.

본 연구에서는 결측된 일교통량의 대체를 위하여 교통공학에서 많이 활용되고 있는 기존의 선형내삽법에 공간상관성 기법을 고려한 새로운 선형내삽법을 제안하였다. 일교통량과 같이 시간적 특성을 지닌 자료를 공간위에 배치하여 공간적 상관성을 고려할 수 있도록 하였다. 공간상관성을 측정하기 위하여 일교통량의 순환성을 감안하여 같은 주의 요일간 상관성과 주별 같은 요일의 상관성을 나타내는 지표로서 Moran Index를 사용하였다. 실제 분석을 위하여 한국건설기술연구원에서 제공한 2004년 11월의 28일간의 일교통량 자료를 4×7 격자 형태로 배치하여 일별 교통량자료를 공간화 시켜 공간 상관성을 살펴보았으며, 여러 가지 통계적 지표를 통하여 공간 선형내삽법의 우수성을 확인하였다.

대공간 구조물은 힘의 흐름을 자연스럽게 하고, 휨모멘트의 영향을 가능한 저감 시켜 면내력만으로 외부하중에 저항하는 역학 개념을 기초로, 구조 시스템의 효율성을 극대화시키는 형태저항형 구조이다. 구조물의 경제성 분석은 그 프로젝트의 실행을 결정할 수 있는 중요한 요소이다. 대공간 건설에는 일반 건물에 비해 많은 기술적 고려가 요구된다. 프로젝트의 성공적인 수행을 위해 타당성 검토 단계에서 구조물의 전 생애의 필수적인 요소에 대한 분석이 요구된다. 본 논문에서는 기존 대공간 구조물의 사례를 조사하며, 이를 통해 자료를 수집하고 공사비를 분석하였다. 본 연구는 대공간 구조의 데이터 베이스 구축을 위한 기본적인 데이터 제공을 목적으로 한다.

본 연구의 주목적은 공간그리드의 조형요소로서 3차원 유닛의 역할과 구성을 탐구하는 것이다. 따라서 공간그리드와 3차원 유닛의 상호관계와 역할, 유닛의 유형 및 구성방식과 이에 영향을 미치는 요인들이 파악된다. 또한 각각의 형태적 특성 및 조합이 공간그리드 전체의 형상에서 드러내는 효과를 확인하여 전반적인 형태구성의 틀을 제시하고자 한다.

본 논문은 광섬유 브래그 격자 센서를 이용한 대공간 구조물의 실시간 모니터링을 설명하였고, 외부 외력 작용시에 대공간 구조물의 요소인 막이나 케이블의 변형을 계측하는데 광섬유 브래그 격자 센서가 매우 적합하다는 점을 검증하고 있다. 이와 함께 대공간 구조물에 광섬유 브래그 격자 센서를 이용하여 변형을 모니터링하는 실험을 실시하였다. 장스팬의 대공간 구조물을 모니터링하기 위하여 많은 요소를 계측할 수 있는 장비가 필요하다. 실험의 결과로 광섬유 브래그 격자 센서는 외력 작용시에 정확한 계측을 보여주었다. 그러므로 대공간 구조물의 변형율을 계산할 수 있고 실시간 모니터링이 가능하다.

This paper analyses the effect of parameters on the consequences of the unconfined vapor cloud explosion accident (UVCE) by the release of heavy gas (xylene vapor). Simulation results showed that the overpresure was increased with the increase of the release hole diameter and with the decrease of the interested distance and the wind speed. While, the overpresure was not nearly affected by the release height, weather and environmental conditions. From the results of the consequence analysis and analysis of affecting the consequences of UVCE, the emergency plan should be established taking into account these parameters.

A bridge is a space used as a passage. This space should be functional, solid, and beautiful. Since the beginning of human life, bridge architecture has given importance to function as a connection from one place to another. Stepping stones in the stream were the connections between divided spaces in the agricultural life, the bridge on the entrances of a town was the place for separation, expectation, and communication for people gathering around the community. Southern Chinese provinces such as Zhejiang, Hunan, Yunnan, and Guizhon is famous for it's spectacular scenary, and tribes like the 'Miao' and 'Dong' live in a cooperate community. The 'Dong' tribe is one of the 'Yue' genealogy where the people have settled down in this place in the days of 'Qin Shi Huang(Qin dynasty)'. As the population of the 'Dong' tribe growed, they used a bridge to connect town to town. The scale became larger with additional design, giving splendid achievement to bridge architecture. The 'Fungyu bridge' in Tongdao and 'Chungyang bridge' in Sanjiang are some fine examples. The Fungyu bridge could be defined as a bridge which blocks wind and rain, this has the same function as the lounge bridge in Taishun located in southern Zhejiang province. In Taishun, 5 minority races such as the 'Dong' and 'Miao' people have been living together as a clan society for centuries on mountains as high as 1000m following their own tradition. The 'Xiliu river' flowing thorough has a variety of bridges remaining in it's original form, and it is recently known as a museum of ancient bridges. The formation of the bridges in Tongdao and Taishun shows that it is different with the arch and straight bridges remaining in Korea. In this study, it is readjusting the base data, showing plan characteristics and describing the construction of the wooden structure above the bridge post.

최근 다양한 목적의 대공간 사용이 보편화되고 있다. 이들 공간에 대한 다목적요구로 인해 최근 건립되는 대형 스포츠시설들은 스포츠뿐만 아니라 공연과 같은 다양한 이벤트를 수용하도록 요구받고 있다. 다양한 이벤트 상태의 제공을 위해서 건물의 일부를 부분적으로 개폐하는 방식의 사용이 빈번해지고 있으며 이와 같은 부분적 개폐는 자유음장과 확산음장의음향적 연결을 초래하여 음향설계단계에서 어려움을 초래할 것으로 예상된다. 본 연구에서는 1/10 축소모형을 이용하여 확산음장과 자유음장의 음향적 연결에 따른 음장의 음향특성을 측정 분석하였다. 연구결과, 저중주파수 대역에서의 잔향시간은 개구율이 증가함에 따라 고주파수 대역에서보다 빠른 감쇠를 나타내었다. 또한 EDT는 모든 주파수대역에서 개구율 증가에 선형적으로 비례하여 감쇠하는 것으로 나타났다. 명료도는 개구율이 12.5%에 이르기까지 거의 영향을 받지 않으며 그 이후에는 선형적으로 비례하여 증가하였다. 에너지 감쇠패턴의 분석결과, 이중 및 삼중의 감쇠패턴이 나타나고 있으며, Schroeder 적분에 의한 잔향시간의 산출은 부적절한 것으로 판단된다. 따라서 부분적 개방형 공간의 잔향예측에 있어서 EDT가 보다 적절한 것으로 판단된다.

최근 산업 발전과 더불어 대공간 건축물의 수요가 급증하고 있다. 이 분야 선진 기술은 지간 300m 이상의 대공간 건축물 실현도 가능하게 하고 있다. 대공간 구조에는 쉘구조, 스페이스 프레임 구조, 막구조, 케이블구조 등이 있다. 대공간 건축물은 기둥 없이 넓은 공간을 확보해야 하는 구조적 특성 때문에 설계초기 단계에서부터 시공문제를 병행하여 검토할 필요가 있다. 대공간 건축물 시공에 있어서 erection 공법은 공사비용, 공사기간 그리고 안전성 등에 큰 영향을 주는 것으로 알려져 있다. 대공간 건축물 erection 공법은 현장 여건 및 제반 조건에 따라서 그 수를 헤아릴 수 없을 정도로 많고 다양하지만, 대표적인 공법으로는 Element 방식, Block 방식, Sliding 방식, Lift-up 방식 그리고 복합방식 등이 있다. 본 연구에서는 기존 대공간 건축물을 대상으로 시공당시 적용한 erection공법을 조사하여 이것을 규모별, span별, 층고별, 구조형식별로 분석 및 검토하여 향후 대공간 건축물의 효율적 erection 공법 개발을 위한 기초 자료를 제공하는데 그 목적이 있다.

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that “less is more” in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.

공간구조물의 성능기초 내진설계를 위한 기초연구의 하나로 강구조 골조막 구조의 탄소성 지진응답 특성을 분석하였다. 하부 골조의 가새의 선행좌굴을 유도하여 상부에의 지진 에너지 전달을 저감할 수 있음을 보여주고 있다.

The main purpose of this study is to reveal the properties and specialities of architectural space after Modernism. Space was the main theme of Modernity in architecture and they insist Modern architectural space had its own characteristics compared with the earlier period. With view that another paradigm of space is rising as a criticism of and departure from Modernity, this study try to show what is the contents of difference and how it express in reality. We can find a new trends in architectural spaces, that are the production of totally different circumstantial background as like information society, digital media environment, post structuralism, new science and heterotopian situation in urbanism. We can call it Post-Modernity in architectural space that would find the ‘Otheness' and expand the territory of architecture. It means not only the change of architectural space itself but also different cognition and perception of space is taking place. Contemporaru architectural space has lost its materiality and conventional socio-cultural functions. Dematerialization and media or image -like being is the new characteristics instead. It demands a new way of being in a different life-world as well as the new experience of architecture.

The Location Based Services (LBS) comprise spatial information and mobile technology allow users to receive various services based on Global Positioning Systems (GPS). Although, spatial information based services are very useful, it has lots of possibility to damage privacy protection. But the contents of the legislation by government have problems conflicted between protection of a person's location information and invigoration LBS. Therefore, in this study suggest a causal model to deal with user satisfaction and factors affecting spatial information based services to customer perspective. The proposed research model is tested empirically with one hundred and forty one usable questionnaires and partial least square (PLS) method. Experimental results showed that the usefulness, playfulness, and service quality play a prominent role in influencing the spatial information services satisfaction compared to other factors. But, easy of use and perceived risk are not significant.