• Geomechanics and Engineering
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• v.36 no.5
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• pp.489-509
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• 2024

Slope stability analysis and prediction are of critical importance to geotechnical engineers, given the severe consequences associated with slope failure. This research endeavors to forecast the factor of safety (FOS) for slopes through the implementation of six distinct ML techniques, including back propagation neural networks (BPNN), feed-forward neural networks (FFNN), Takagi-Sugeno fuzzy system (TSF), gene expression programming (GEP), and least-square support vector machine (Ls-SVM). 344 slope cases were analyzed, incorporating a variety of geometric and shear strength parameters measured through the PLAXIS software alongside several loss functions to assess the models' performance. The findings demonstrated that all models produced satisfactory results, with BPNN and GEP models proving to be the most precise, achieving an R² of 0.86 each and MAE and MAPE rates of 0.00012 and 0.00002 and 0.005 and 0.004, respectively. A Pearson correlation and residuals statistical analysis were carried out to examine the importance of each factor in the prediction, revealing that all considered geomechanical features are significantly relevant to slope stability. However, the parameters of friction angle and slope height were found to be the most and least significant, respectively. In addition, to aid in the FOS computation for engineering challenges, a graphical user interface (GUI) for the ML-based techniques was created.

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.86-109
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• 2009

Mireuksa Temple was founded during the reign of King Mu of Baekje(AD 600-641). The circumstance of the construction of this temple is documented in "Memorabilia of the Three Kingdoms (Samgukyusa)". The pagoda named stone pagoda at Mireuksaji temple stands outside the main sanctuary of the western area. The south and west sides of the stone pagoda have completely collapsed, leaving only the eastern facade of six of its levels intact. Through the recent discovery of sarira reliquary we can see that the erection of this pagoda was in 639. So owing to accumulation of excavation results about Baekje temple site and vigorous academic exchange, it is possible that architecture of western pagoda at Mireuksaji temple can be understood in connection with the architectural development of wooden pagoda from 6th to early 7th century in East Asia. So this study is on the consideration of building of this pagoda putting first structure of upper part and cross-shaped space in 1st floor. It was considered that the material characteristics as stone could be applied to the temple pagoda architecture of large scale. The results are as follows. First, it had been built in recognition that the outer and inner part of pagoda should be separated. As it is the expression of structural system in temple pagoda architecture of large scale at that time. In pagoda there was a self-erected structure and the members of outer part of it were constructed additionally. Second, in Mireuksaji stone pagoda there is central column with stones. With inner part of pagoda it can be regarded as mixed structural system that constitutes central contral column and inner structural part. And it could be a kind of middle step to more developed structure of whole as wooden pagodas in Japan. Third, as the sarira reliquary was in central column on the first floor, the cross-shaped space could be made. The formation of this space was so on the natural meaning of sarira that the concept as memorial service of graves could be apllied to the pagoda. The style of tomb in Baekje was expressed to the space of 1st floor in pagoda where Sarira had been mstalled. That was not only effective presentation of symbolic space but also easier method in the use of same material.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Journal of the Korea institute for structural maintenance and inspection
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• v.24 no.3
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• pp.96-103
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• 2020

As a basic study for the application of natural zeolite as a concrete admixture, the compressive strength, activity factor, Ca(OH)₂ quantitative analysis and XRD experiments were investigated. It is thought that SiO₂, which is abundant in natural zeolite, affects the strength development by reacting with the hydration product of cement in all specimens in which natural zeolite was added according to powder level and substitution rate. As the substitution rate increases, the compressive strength decreases, which is considered to be due to the decrease in the amount of C₃S and C₂S minerals in the clinker, which affects the strength expression compared to the cement content of the reference mortar. The XRD crystal structure did not show a significant difference from the reference mortar, and it was confirmed that the Z2-10 (Blaine: 15,600㎠ / g) specimen with 10% substitution of natural zeolite was the best among the experimental levels. Substitution amount for use as concrete admixture is 10% substitution is most ideally seen.

• Journal of the Korea Institute of Building Construction
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• v.14 no.2
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• pp.156-162
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• 2014

This study aims to develop a rapidly hardening type of concrete to achieve the removal of form intensity (more than 10MPa) using the method of curing at room temperature in order to solve some economic environmental problems by omitting the steam curing process involved in producing PC (Precast Concrete). Therefore, this study evaluated a rapidly hardening cement containing a high amunt of C3S, which is very responsive in expressing early intensity, and a rapidly hardening type of concrete which uses some hardening accelerator to increase thehydration reaction of $C_3S$. The results of the experiment on concrete using some hardening accelerator are asfollows. In the slump flow experiment for identifying the liquidity and the air test, the desired values were met. The compression strength showed rapid expression response by 12 hours, and met the desired value within 6~9 hours. Its drying shrinkage value and Autogenous shrinkage value were measured as below ($-754.5{\times}10^{-6}$),and satisfied the requirements. In addition, in the Semi-Adiabatic Temperature Test, it was found that the concrete rose to its peak temperature within 24 hours and then its temperature dropped.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.23-34
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• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.

• Molecules and Cells
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• v.41 no.12
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• pp.1016-1023
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• 2018

Regenerative orthopedics needs significant devices to transplant human stem cells into damaged tissue and encourage automatic growth into replacements suitable for the human skeleton. Soft biomaterials have similarities in mechanical, structural and architectural properties to natural extracellular matrix (ECM), but often lack essential ECM molecules and signals. Here we engineer mineralized polysaccharide beads to transform MSCs into osteogenic cells and osteoid tissue for transplantation. Bone morphogenic proteins (BMP-2) and indispensable ECM proteins both directed differentiation inside alginate beads. Laminin and collagen IV basement membrane matrix proteins fixed and organized MSCs onto the alginate matrix, and BMP-2 drove differentiation, osteoid tissue self-assembly, and small-scale mineralization. Augmentation of alginate is necessary, and we showed that a few rationally selected small proteins from the basement membrane (BM) compartment of the ECM were sufficient to up-regulate cell expression of Runx-2 and osteocalcin for osteoid formation, resulting in Alizarin red-positive mineral nodules. More significantly, nested BMP-2 and BM beads added to a non-union skull defect, self-generated osteoid expressing osteopontin (OPN) and osteocalcin (OCN) in a chain along the defect, at only four weeks, establishing a framework for complete regeneration expected in 6 and 12 weeks. Alginate beads are beneficial surgical devices for transplanting therapeutic cells in programmed (by the ECM components and alginate-chitosan properties) reaction environments ideal for promoting bone tissue.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.