• 한국가구학회지
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• 제20권5호
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• 한국융합학회논문지
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• 제11권1호
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• pp.97-108
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• 2020

'1+N'은 현재 복합형 서점의 경영 모드이다. 본 연구는 우선 고객의 기본적 상황과 수요를 조사하였고, 서점 내의 10가지 공간 중 고객의 4가지 기본적 행위를 검토하였다. 다음 서비스 디자인의 3가지 연구 도구와 실내 디자인의 3가지 디자인 요소를 상대적으로 대응하여 '복합형 서점 실내 디자인 기본 분석 프레임'을 수립하였다. 그리고 사례와 '복합형 서점 실내 디자인 기본 분석 프레임'과 결합하여, 고객과 서점이 상호작용하는 자세한 프로세스, 터치포인트와 실내 디자인 프로젝트를 찾아냈다. 디자인 맹점을 찾아 상응하는 해결책을 추출하고 이를 바탕으로, '서비스 디자인 개념에 기초한 복합형 서점 실내 디자인 연구 모델'을 제안하였다. 여기에는 복잡한 공간의 실내를 디자인할 때 주목해야할 요소 및 각 요소 간의 뚜렷한 연관성을 포함하고 있으며, 복합형 서점 실내 기능 구역의 디자인 내용과 서비스 품질검사, 디자인의 공백점을 찾을 수 있다.

• Toxicological Research
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• 제22권4호
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• pp.375-380
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• 2006

Microcystin-LR (MC-LR) is a cyanobacterial hepatotoxin mainly produced by Microcystis aeruginosa. The current study examined the effects of a single intraperitoneal dose of MC-LR in rats. Female Sprague-Dawley rats were intraperitoneally injected with MC-LR ($100{\mu}g/kg$ body weight) and they were sacrificed at 0, 20, 40, 80, 160 min, or 12 h after injection. Clinically, animals showed lethargy and had ruffled hair beginning at 40 min post injection. In the gross findings, liver was enlarged and its color was changed into dark red beginning at 40 min post injection. Microscopically, dissociation of centrilobular hepatocytes and hemorrhage was observed in the hepatic central legions and such pathological changes were then extended to the portal regions of liver by time course manner. Interestingly at 80 min after MC-LR injection, the entrapped eosinophilic materials that may be necrotic fragments of dissociated hepatocytes were found in the capillaries of lung and renal glomerulus. Ultrastructurally, microvilli of the hepatocytes were disrupted or lost at all time points. Furthermore, the Disse space and gap junctions were widened beginning at 40 min post injection. These results suggest that liver is the major target organ of MC-LR and isolated hepatocytes by the effects of such hepatotoxin may secondarily reduce the physiological function of lung and kidney.

• 한국기계가공학회지
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• 제20권10호
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• pp.44-49
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• 2021

Seats in autonomous vehicles must be able to rotate to fully utilize the interior space. Generally, ultra-high strength steel is used for the rotation module because it should have high strength and high rigidity. In addition, the rotating parts are difficult to form because they have complex shapes. In this study, the upper plate of the rotating module, whose complex shape makes it difficult to form, was formed by applying the hot stamping method. The drawing method and the form-drawing method, which are generally used to form components of complex shapes, were compared. We showed that the form-drawing method increased the degree of freedom of the material flow to improve the formability, thus enabling the forming of the plate. In addition, the die and blank shapes were found to be important factors in determining the success of the hot stamping. The validity of the analysis results was confirmed through forming analysis and experiments.

• 미술이론과 현장
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• 제8호
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• 한국전통조경학회지
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• 제38권4호
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• pp.101-110
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• 2020

본 연구는 정원박람회에 출품한 작품 중에서 전통을 테마로 설정한 작가정원 14개소의 사례연구로서 문헌 분석과 현장 조사로 진행하였다. 전통재현을 결정하는 설계과정에 주목하고 작품마다 설계목표 수립, 전통재현의 대상 선정, 재현의 방법 결정, 경관구성요소 디자인 단계를 분석하여 다음과 같은 전통재현 특성과 시사점을 도출하였다. 첫째, 다수의 작가정원에서 전통구조물을 재현 대상으로 선정한 양상은 좁은 부지에 적합하고 주제 전달성이 좋다는 장점으로 이해할 수 있다. 이들은 작품명에 마당, 울, 부뚜막, 장독대, 취병과 석가산 등 전통구조물의 명칭을 넣어 설계의도를 직접 전달하였는데, Wall, 한국정원, 수원, 서울 장인처럼 간접적으로 표현한 작품들은 주제 전달성이 상대적으로 약하다. 선비, 여백, 풍류와 같이 재현 대상을 상징적으로 표현한 작품도 있었다. 둘째, 한옥마당을 재현하면서 잔디와 석재로 포장한 정원, 수원화성 성곽과 망루 서북공심돈(西北空心墩)을 분리하고 연계성 없는 용연(龍淵)을 미니어처 형태로 배치한 정원과 낙안읍성을 모티브로 하여 휴게공간에 낮은 장식담장으로 재현한 정원은 전통에 대한 깊이 있는 이해가 필요함을 보여준다. 반면 전통정원의 입지 선택, 주변 환경과 유기적 배치가 중요함을 보여준 한국정원, 한옥 중정이 가진 여백의 미와 선비가 누렸던 느림의 미학, 달밤 뱃놀이라는 풍류 문화를 재현한 작품들은 전통구조물 모사를 넘어 전통에 대한 이해가 정원문화와 정서로 확산된 양상이다. 셋째, 디자인과 관련하여 실제 크기의 전통구조물을 직설적 방법으로 재구성한 작품이 많았다. 취병으로 정원을 구획하고, 담장안에 부뚜막, 굴뚝, 텃밭 등으로 생활공간을 꾸미고, 경복궁, 소쇄원, 서석지를 대표하는 시설들을 유기적으로 배치하였다. 하지만 규모가 큰 수원화성과 낙안읍성을 추상적 방법으로 재현한 작품들로부터 핵심이 되는 디자인 요소의 취사선택, 구조물의 입면 구성, 공간의 스케일감에 대한 중요성을 인식하였다. 해체적 방법을 선택한 정원 중에는 원형 이미지와 멀어진 한옥 마당과 바자울의 사례가 있는 반면에 정육면체를 구성한 프레임만으로 표현한 여백의 정원과 많은 전통구조물로 달빛 스며든 선비의 사랑방을 재구성한 정원은 긍정적 사례이다. 현대적으로 디자인한 경관구성요소들을 전시한 서울 장인 정원, 직지심체정원, 풍류정원은 작가의 의도를 이해할 수 있는 설명이 필요하다.

• 한국토양비료학회지
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• 제45권3호
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• pp.353-359
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• 2012

The identification of effective root zone would clarify dynamics of plant available water and soil water balance. Using the relationship between soil properties and electrical resistivity (ER) the purpose of this research is to identify soil zone affected by a plant root activity using electrical resistivity tomography (ERT) technique. Four plastic containers were prepared for two different soil textures (clay and sandy loam) and one container for each texture was selected for planting four corn seedlings (Zea mays L.) and the others were prepared for the blank. For ERT monitoring, we prepared 0.8 m plastic sticks with 17 electrodes installed with 5 cm space. The Ministing (AGI Inc., Texas) instrument for electrical resistivity measurement and semi-auto converter of electrode arrangement were set up for dipole-dipole array. During 2 months of the corns growing, ERT monitoring was made 3 to 4 days after the irrigation practice. Despite of the same amount water supplied into soils, two textures showed very different apparent resistivity values due to different clay content. The apparent electrical resistivity is consistently lower in clay loam comparing to sandy loam soil implying that plant root does not significantly alter the overall trend of resistivity. When plant root system, however, is active both soils with plants showed 2-7 times higher electrical resistivity and higher coefficient variation than soils without plant, implying the effect of root system on the resistivity, in which may caused by. This result suggests plant root activities regulating the soil water dynamics mainly control the variation of electrical resistivity over soil textural difference. Therefore the identification of water uptake zone would highly be correlated to plant root activities, thus ERT will be feasible approach to identify spatial characteristics of a plant root activity.

• 복식
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• 제63권4호
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• 만화애니메이션 연구
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• 통권43호
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• pp.185-209
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• 2016

문양이란 비어있는 표면을 단독적으로, 혹은 반복되어 장식하는 형상을 말한다. 문양은 회화, 건축, 공예 등 시각예술이 쓰이는 영역이라면 어디든 사용 될 수 있다. 현대에도 문양은 전통 문양을 그대로 사용하거나 현대적으로 변형하여 사용한다. 또한 문양은 단순히 여백을 채우는 것 이상의 의미를 갖고 있는데, 특정 지역권의 문화나 사상 등이 반영하고 있기 때문에 어떤 문양을 사용하느냐에 따라서 특정한 정체성을 부여할 수 있다. 이는 애니메이션에 있어서도 예외가 아니다. 애니메이션에서 문양은 배경이나 캐릭터의 의상, 소품 등의 표면을 꾸미는 역할을 한다. 그리고 캐릭터와 배경, 이야기의 시대적, 공간적 배경 등의 환경을 설명하는 데에도 효과적이다. 아일랜드의 애니메이션 스튜디오 에 소속된 애니메이션 감독 톰 무어(Tomm Moore)는 주로 전통설화나 신화를 토대로 한 애니메이션을 제작하였는데, 그 소재와 연관된 문화, 예술적 요소를 작품 연출에 활용한다. 그 중 한 예로 문양을 들 수 있다. 애니메이션의 서사와 배경과 밀접한 연관성이 있는 문양은 배경과 소품에 삽입되어 이를 통해 더욱 깊이 있는 화면이 탄생한다. 톰 무어는 <켈스의 비밀>(Secret of Kells, 2009)과 <바다의 노래>(Song of Sea, 2014)에서는 아일랜드 켈트 문양을, <칼릴 지브란의 예언자>(Kahlil Gibran's The Prophet, 2014)에 삽입된 단편 애니메이션 <사랑에 대하여>(On Love)에는 이슬람의 기하문양과 식물 문양을 사용했다. 본 논문에서는 톰 무어가 감독 및 연출로 참여한 두 편의 애니메이션 <바다의 노래>(Song of Sea, 2014), 그리고 <칼릴 지브란의 예언자-사랑에 대하여>(Kahlil Gibran's The Prophet- On Love, 2014) 의 서사와 그 바탕에 깔린 역사, 문화적 배경을 파악하고 그것과 맞물리는 전통문양에 대하여 알아본다. 또한 이런 전통문양들이 애니메이션에서는 어떻게 사용되었는지 분석하고 있다.

• 한국항해항만학회지
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• 제34권5호
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• pp.367-373
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• 2010

수치해석을 수행할 경우 좀 더 정확한 수치모의를 위하여 해석영역의 특성에 따라 적절하게 요소를 배치하는 것이 필요하다. 본 연구에서 사용한 개별요소법(DEM)은 입자의 마찰력 및 항력을 제외한 반발력과 인장력만을 적용하였다. 초기 쿼드트리(Quad-tree)형식으로 충진된 입자들을 DEM을 이용하여 재배치할 경우 입자의 형상이 원형이기 때문에 입자사이에 존재하는 빈 공간을 최소화 할 수 있다. 결국 입자 중심점의 배치가 정삼각형에 가깝게 되는 특징을 보여준다. 이 재배치된 입자를 대상으로 Delaunay 삼각기법을 이용하여 삼각망을 구성하고, Laplace 보간을 수행하여 격자 품질을 향상시켰다. Laplace 보간 전 후의 형상비(Aspect Ratio: AR)를 비교한 결과 DEM을 이용하여 작성한 격자의 품질도 우수하지만, Laplace보간을 수행한 이후 보다 높은 품질의 격자가 생성되는 것을 확인하였다. 본 연구에서 개발한 기법은 기존의 삼각격자망 생성기법에 비해 다소 계산시간이 오래 걸리는 단점이 있지만, 복잡한 형상과 정확한 지형의 재현을 필요로 하는 파랑 해석용 유한요소 격자망 작성 및 다양한 수치모의 분야에서 그 적용 가능성이 매우 높다고 사료된다.