• Tunnel and Underground Space
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• v.31 no.6
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• pp.534-548
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• 2021

In this paper, the feasibility of generating solar power near an abandoned quarry is examined with the objectives of resolving the essential problems that quarries encounter, such as rockfalls and space usage issues. On an abandoned quarry site in Sadang, Seoul, Republic of Korea, two different PV installation methods were analyzed. The first is attaching PV directly on the quarry slope. Since there are no corresponding safety standards and precedents for installing solar panels directly on slopes, the power generation potential was calculated by using topographic data and reasonable assumptions. The surface area of cut slope section was extracted from the Digital Elevation Model(DEM) via ArcGIS and Python programming to calculate the tilt and power capacity of installable panels. The other approach is installing PV as a rockfall barrier, and the power generation potential was analyzed with the assumption that the panel is installed in the direction of facing solar irradiation. For the derivation of power generation, the renewable energy generation analysis program SAM(System Advisor Model) was used for both methods. According to the result, quarries that have terminated resource extraction and remain devastated have the potential to be transformed into renewable energy generation sites.

• Tunnel and Underground Space
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• v.31 no.3
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• pp.184-197
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• 2021

The agricultural industry in Lam Dong Province has been growing in volume and kinds of produces. Various vegetables, fruits, flowers and coffee are the characteristics of the agriculture industry in Lam Dong. This situation makes the necessity of chilled and cold storages with commercial capacity. Another factor in Lam Dong is that there are more than 70 quarries under operation or abandoned. Upon the MOU between Lam Dong Government, BCMP and RIGPE, BCMP and RIGPE carried out the prefeasibility study on the construction of the underground cold storages using abandoned quarries in the Lam Dong area. They submitted the final report of the prefeasibility to the Lam Dong Government in August, 2018. In this report, the overall summary of the prefeasibility of the underground cold storage in Lam Dong is presented.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.