• Journal of Korean Tunnelling and Underground Space Association
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• v.22 no.4
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• pp.347-365
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• 2020

In order to resolve traffic problems in urban areas and to increase the area of green spaces, tunnels in downtown areas are being increased. Additionally, the application of large port smoke extraction ventilation systems is increasing as a countermeasure to smoke extraction ventilation for tunnels with high potential for traffic congestion. It is known that the smoke extraction performance of the large port smoke extraction system is influenced not only by the amount of the extraction flow rate, but also by various factors such as the shape of the extraction port (damper) and the extraction air velocity through a damper. Therefore, in this study, the design standards and installation status of each country were investigated. When the extraction air flow rate was the same, the smoke extraction performance according to the size of the damper was numerically simulated in terms of smoke propagation distance, compared and evaluated, and the following results were obtained. As the cross-sectional area of the smoke damper increases, the extraction flow rate is concentrated in the damper close to the extraction fan, and the smoke extraction rate of the damper in downstream decreases, thereby increasing the smoke propagation distance on the downstream side. In order to prevent such a phenomenon, it is necessary to reduce the cross-sectional area of the smoke damper and increase the velocity of passing air through the damper so that the pressure loss passing through the damper increases, thereby reducing the non-uniformity of smoke extraction flow rate in the extraction section. In this analysis, it was found that when the interval distance of the extraction damper was 50 m, the air velocity passing through damper was 4.4 m/s or more, and when the interval distance of the extraction dampers was 100 m, the air velocity passing through damper was greater than 4.84 m/s, it was found to be advantageous to ensure smoke extraction performance.

• Journal of the Korean Society of Marine Environment & Safety
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• v.21 no.5
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• pp.583-590
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• 2015

Submarine cable installation is essentials for grid connection between existing power grid and newly produced electricity which will be from offshore wind farm in Southwest sea area of Korea. Especially, submarine cable route and protection method is designed in order to ensure the economical efficiency, workability and stability of submarine cable installation. On this paper, we will give the basic information about the submarine cable route and protection method of offshore wind farm which will be built in Southwest sea area of Korea. For this, we have a numerical simulation at high and low tide based on the third-generation wave model SWAN(Simulating WAves Nearshore) using the long term wave data from Korea Institute of Ocean Science and Technology(KIOST). The results of the study, year mean Hs is 1.03m, Tz is 4.47s and dominant wave direction is NW and SSW When the incident wave direction is NW(Hs: 7.0 m, Tp: 11.76s), the distribution of shallow water design wave height Hs was calculated about 4.0~5.0m at high tide and 2.0~3.0m at low tide. When the incident wave direction is SSW(Hs: 5.84 m, Tp: 11.15s), the distribution of shallow water design wave height Hs was calculated about 3.5~4.5m at high tide and 1.5~2.5m at low tide. The wave direction on a dominant influence in the section of longitude UTM 249749~251349(about 1.6 km) and UTM 251549~267749(about 16.2 km) in the submarine cable route are each NW and SSW. Prominently, wave focusing phenomenon appears between Wi-do and Hawangdeung-do, in this sea area is showing a relatively high wave hight than the surrounding sea areas.

• Journal of Bio-Environment Control
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• v.32 no.1
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• pp.48-56
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• 2023

High-pressure sodium (HPS) lamps have been widely used as a useful supplemental light source to emit sufficient photosynthetically active radiation and provide a radiant heat, which contribute the heat requirement in greenhouses. The objective of this study to analyze the thermal characteristics of HPS lamp and thermal behavior in supplemented greenhouse, and evaluate the performance of a horizontal leaf temperature of sweet pepper plants using computational fluid dynamics (CFD) simulation. We simulated horizontal leaf temperature on upper canopy according to three growth stage scenarios, which represented 1.0, 1.6, and 2.2 plant height, respectively. We also measured vertical leaf and air temperature accompanied by heat generation of HPS lamps. There was large leaf to air temperature differential due to non-uniformity in temperature. In our numerical calculation, thermal energy of HPS lamps contributed of 50.1% the total heat requirement on Dec. 2022. The CFD model was validated by comparing measured and simulated data at the same operating condition. Mean absolute error and root mean square error were below 0.5, which means the CFD simulation values were highly accurate. Our result about vertical leaf and air temperature can be used in decision making for efficient thermal energy management and crop growth.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.