• 한국태양에너지학회 논문집
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• 제27권2호
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• pp.1-9
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• 2007

Recently, the point of view about housing environment in the city has changed from the traditional point of view of the center of housing to the subject of land- utilization-control for interaction of buildings. Right of light is the center of this issue in other words. Also many interests about the beauties of the city have increasing centering around Europe etc. This is to change a city design into the characteristic design from the exiting uniform design. As if reflect this situation, recently we are setting up the night illumination and constructing a building which acted as Land Mark like the Jong-Ro Tower. And Apartment Housing was being built various form deviate from a existing standardized form and skyline. Existing studies about sunshine of Apartment Housing have dealt with just about a standardized Apartment Housing form. So this study analyzed a recently increasing interest for Right of light and change of sunshine environment on Apartment Housing which have a various skyline form.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.111-118
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• 2010

The Buddhist reliquaries of these 6 Reliquaries(松林寺, 感恩寺, 法門寺, 慶山寺, 唐招提寺, 法隆寺 玉蟲廚子), when compared with those of China, Japan and Korea in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa, Kam-Eun-Sa, Famensi, Qingshansi, Toshodaiji, and the Horyuji Tamamushi Zushi, the most important ones in this research, were in the precious tent and the inner and outer Coffins shapes having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• 한국정밀공학회지
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• 제24권6호
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• pp.45-50
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• 2007

The aspheric lens has become the most popular optical component used in various optical devices such as digital cameras, pick-up lenses, printers, copiers etc. Using aspheric lenses not only miniaturizes and reduces the weight of products, but also lower prices and higher field angles can be realized. Additionally, plastic lenses are being changed to glass lenses more recently because of low accuracy, low acid-resistance and low thermal-resistance in the plastic lenses. Currently, one fabrication method of glass lenses is using a glass-mold method with a high precision mold core for mass production. In this paper, DOE (Design Of Experiments) and compensation machining were adopted to improve the surface roughness and the form accuracy of the mold core. The DOE has been done in order to discover the optimal grinding conditions which minimize the surface roughness with factors such as work spindle revolution, turbine spindle revolution, federate and cutting depth. And the compensation machining is used to generate high form accuracy of the mold core. From various experiments and analyses, we could obtain the best surface roughness 5 nm in Ra, form accuracy $0.167\;{\mu}m$ in PV.

• 한국가시화정보학회지
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• 제20권2호
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• pp.78-85
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• 2022

In these days, the rapid development in prediction technology using artificial intelligent is being applied in a variety of engineering fields. Especially, dimensionality reduction technologies such as autoencoder and convolutional neural network have enabled the classification and regression of high-dimensional data. In particular, pixel level prediction technology enables semantic segmentation (fine-grained classification), or physical value prediction for each pixel such as depth or surface normal estimation. In this study, the pressure distribution of the ship's surface was estimated at the pixel level based on the artificial neural network. First, a potential flow analysis was performed on the hull form data generated by transforming the baseline hull form data to construct 429 datasets for learning. Thereafter, a neural network with a U-shape structure was configured to learn the pressure value at the node position of the pretreated hull form. As a result, for the hull form included in training set, it was confirmed that the neural network can make a good prediction for pressure distribution. But in case of container ship, which is not included and have different characteristics, the network couldn't give a reasonable result.

• 비교문화연구
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• 제25권
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• pp.213-236
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• 2011

The negative symbol of 'American imperialism', which was reinterpreted superimposed on the symbol imposed on Japanese imperialism in the 1945 Liberation of Korea, was more amplified added by the experiences of the bombing and massacre by US troops during the Korean War. In other words, the symbol of the extreme 'American imperialism' in the liberation in which even the role of America contributing to the liberation of Josun had been denied had continued for a long time adhered to and amplified through the war. Thus, unlike the current emphasis laid by North Josun, the assertion in the form of 'American imperialism=Korean wolf' is an idea made from the mixture of fact and fiction combined with the theory of imperialism rediscovered in the liberation and the experience of massacre during the Korean War. And this superimposed symbol for American imperialism naturally causes the problem of being superimposed also on the symbol of North Josun. And the extreme formalization for 'good' and 'bad' sides was based on the dichotomous compositions of beauty and ugliness, good and evil. The ground for saying that an act by a good side is 'unconditionally' legitimate is nowhere found. The anti-American viewpoint rediscovered in such an extreme form results in one aspect of criticism and resemblance as a result of being locked up in the same violence which one has rejected by oneself. The anti-American viewpoint going on in the form of anti-imperialist nationalism leaves nothing except another terrible retaliation for terrible brutality. It is self-evident that one can never get out of the enchanting power of imperialism which North Josun has continuously criticized in a ring of violence and vengeance, the familiar grammar commanded by North Josun literature.

• 복식
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• 제53권7호
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• pp.57-68
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• 2003

The purpose of this study is to develop a creative perspective technique in fashion illustration through analyzing perspective in visual art experienced a great variety. This study was analyzed by examining the general theories based on the discovery of perspective and investigating the modern perspective in fashion illustration related to the method of spatial expression in visual art. A complex perspective of existing perspective gives the effect of reapperance of actual space and three-dimentional form in a plane. Because of being used as not only one perspective technique but also some perspectives technique, its expression can be more realistic. An amplified perspective gives the effect of visual illusion just like being suck in space inside and come out from screen outside by distorting the human body. A confused perspective of space gives the visual illusional effect of collapsing actual space and misunderstanding three-dimensional form by distorting the form of the space and changing the nature as an object of fashion. A reiterated or duplicated perspective gives effect of interpreting invisible space as imaginary space by overlapping and eliminating the object of fashion. An irrational perspective of spatial illusion gives the effect of disorganization experienced thinking by strange shapes and new recognition of irrational space by extraordinary visual connection. It has a tendency to surrealism. In conclusion, the modern perspective in fashion illustration has made the best use of not only new perspective since 1980, but general perspective before 1980. By the modern perspective expression. the viewer has made a chance to experience imaginary spaces indirectly, and the author has been able to express emotions by his or her new attempt in the screen.

• 대한한의학원전학회지
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• 제29권3호
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• pp.75-80
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• 2016

Objectives : The paper raises an objection to the word '涕' being used to refer to nasal discharge, and proposes a word for nasal discharge upon studying a set of medical books. Methods : The author finds and confirms the dictionary definition of '涕' and studies how they are used differently in medical books. Through this study, the author shows how the word '涕' is used incorrectly and makes deductions for its reason. The author takes a look at the old form of the word '涕', its etymological origin, takes a guess as to the real word that should have been used to refer to nasal discharge, and find examples of instances where this correct word for nasal discharge are more appropriate. Results & Conclusions : In medical books such as Huangdineijing Suwen, '涕' is used to mean nasal discharge, but the word's dictionary definition does not validate such usage. Yugunryeombu (劉君廉夫), in its commentary for Somun, used '?' and '鼻夷' for '涕', and '?' means nasal discharge and used as same as '涕' when its used to mean tear. This is a phenomenon that originated from '弟' and '夷' being used interchangeably which led to the incorrect usage of '?'. If someone were to refer to nasal discharge, he needs to use '?'. '鼻夷' is believed to be the same word as '弟鼻', which is the old form of '?', and it means both tear(pronounced 'Che') and nasal discharge(pronounced 'Je'). However, the pronunciation different between 'Che' and 'Je', and its definition as tear, is divided in later periods into '涕' following the shape of '弟'. Following the shape of '夷', the meaning of nasal discharge remains in '?' while retaining the pronunciation of 'yi'. Therefore, the word '涕' used to mean nasal discharge is an incorrect form of '?', and should all be re-written to '?'.

• 한국가구학회지
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• 제25권2호
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• 한국실내디자인학회논문집
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• 제38호
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• pp.100-107
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• 2003

The space can recognize by experience of sense, the each space to make identity through this. The contemporary architecture make possible an experience of sense through a complex paradigm and a composite concept expression. The material is not the assist to make a form, but to induce an image and an emotion of designers. The new material make possible the different design expression and the new aesthetic value. The appearance of difference material means the possibility to realize a designer's concept. The purpose of the study Is to analyze the new possibility of material expression through the study on material expression of interior design to associate the sense of being alive, to use basic data of the relation the material and the creativity. The study range is to define the sense of being alive, to image expression of material. It is to analyze the expression method of materials through to analyze the contemporary interior design. The expression method of materials to image the sense of being alive is direct and indirect and compromise. The interior design is visually to realize designer's concept, and the interior designer has to realize their it. The later study is on detail of material, in order to realize of material.

• 한국농촌건축학회논문집
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• 제14권2호
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• pp.11-18
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• 2012

Carlos Jimenez's 'House and Studio' was self-designed to fully function as both a home and workplace. Since its establishment in 1983, the installation has been continuously updated for almost 30 years solely under the guidance of the owner's life occurrences and routine needs. The additions and alterations succeeding the building's erection were executed to incorporate small yet symbolic fragments of the resident's memories and life episodes. The particularity of the 'House and Studio' can be compared with other residential remodeling and expansion projects in regards to certain key aspects. These means of comparison include, but are not limited to, building strictly under the direction of a master plan of development vs. allowing natural adaptations that comply with the resident's needs, rapid development vs. gradual advancement, the ornamenting by exposing showy features vs. the enhancing by addition of modest natural components, sustainability vs. sustenance, systematic room divisions vs. ambiguous spatial organization, possession as a materialized asset vs. preservation as a recollection of memories, and finally the recognition as one example of signature architecture vs. the witnessing of a maturing animated shelter. The given propositions can be further explained with the comprehension of Erich Fromm's theory of the 'Having' mode and 'Being' mode, two mechanisms that categorize the essence of human life. The 'Having' mode is described by the human greed for wealth, power, and influence, whereas the 'Being' mode is comprised of compassion, joy, and productivity. Fromm's thesis applies to the general sense of human life, but the ideas can be narrowed to accommodate the architectural standpoint. In architecture, the 'Having' mode can be translated to be the conspicuous form-oriented and self-contained object. The 'Being' mode, on the other hand, is transposed as the more natural form, incorporating the needs of the owner before commercialization. The growth of Jimenez's 'House and Studio' can be perceived as an architectural suggestion to the overcoming of human indifference caused by fixation on the 'Having' mode.