• Journal of the Korea Furniture Society
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• v.20 no.5
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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.

• Journal of the Korea Convergence Society
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• v.11 no.1
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• pp.97-108
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• 2020

Nowadays, '1+N' is the operation model of compound bookstores. This study firstly investigated the general information and needs of customers and analyzed 4 basic behaviors of customers in 10 functional space of bookstore. Secondly, a preliminary analysis framework of interior design of compound bookstore was established, by applying 3 research tools of service design to 3 design elements of interior design. Thirdly, the case was analyzed in the preliminary analysis framework to find out the detailed process of the interaction between the customer and the bookstore, the touchpoint and the interior design project, to find out the blind spots in design, and put forward the solutions. Finally, after being refined, a compound bookstore interior design model based on the concept of service design was established. This model can be used to test the design content and service quality of the interior functional area of the compound bookstore, and to find out the design blank points.

• Toxicological Research
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• v.22 no.4
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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.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.20 no.10
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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.

• The Journal of Art Theory & Practice
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• no.8
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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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Korean Journal of Soil Science and Fertilizer
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• v.45 no.3
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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.

• Journal of the Korean Society of Costume
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• v.63 no.4
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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.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Journal of Navigation and Port Research
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• v.34 no.5
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• pp.367-373
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• 2010

When the numerical analysis is carried out, it is necessary to set proper elements as a feature of analysis domains for more accurate simulations. In this study, Distinct Element Method(DEM) is applied, only considering repulsive force and tensile force except for frictional force and resisting force of particle. When the filled particles with initial Quad-tree type is relocated by DEM, a blank space existing among the particles can be minimized because the shape of particle is circular. Finally, it is the effective feature that the centroidal disposion of the particles is similar to an equilateral triangle. Triangular mesh are formed by using the Delaunay triangular technique on these relocated particles, the quality of triangular mesh is more improved by carrying out Laplace interpolations. The compared result of Aspect Ratio before and after the Laplace interpolation is shown that although the quality of triangular mesh made by DEM is good, the later triangular mesh are higher quality than the formers. In this study, although the developed technique takes a longer calculational time than the previous technique to generate triangular mesh, it is considered that the applicable possibility is very high in the generation of finite element mesh about wave analysis and various numerical simulation to need a complex or reappearance of exact topography.