• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.25 no.12
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• pp.107-112
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• 2011

Multiple ground rods are commonly used to obtain the low ground impedance, but they will not reduce the ground impedance unless the spacings between the ground rods are sufficient. This paper presents the experimental results of frequency-dependent resultant ground impedance of two ground rods in parallel. The resultant ground impedance of two ground rods in parallel were measured as functions of the spacing and length of ground rods and the frequency of test currents and were discussed based on the potential interferences. As a consequence, the frequency-dependent ground impedance of single ground rod and two combined ground rods give capacitive. It was found that the effect of potential interference on the ground impedance is directly associated with the frequency-dependent ground impedance and is strong in low frequency. Also, in order to reduce the increasing rate of resultant ground impedance of two ground rods due to potential interference to within 10(%), two ground rods in parallel will be placed over one rod length apart.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.65 no.9
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• pp.1564-1570
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• 2016

This study proposes a newly modified form of existing ground electrodes in order to secure trust of grounding system for large current caused by a stroke of lightning. Proposed planar earth structure has a several needle electrodes around a circular rod and 4 plane electrodes in all directions. The plane electrodes are fused with the insulator on the linear rod, so that they're electrically isolated. The concept is to increase the discharge amount of earth structure using multiple discharge paths like needle and plane electrodes. To check the discharge efficiency of the suggested scheme, the discharge currents are compared with typically used two kinds of ground rods. To ensure accuracy in the measurement of the discharge current, the same material was used for the comparison model. Also, the ground resistance are simulated by CDEGS commercial software and the results are compared with measured data. Based on this kind of experimental study, the suggested ground rod can be used when designing a ground system or when constructing a ground system at the site.

• Proceedings of the KAIS Fall Conference
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• 2004.11a
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• pp.179-181
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• 2004

This study presents a cylindrical WLAN antenna for MIMO systems. Three typical inverted-F antennas, which have individual ground plane, are placed on the cylindrical rod. An optimum antenna is fabricated by theoretical prediction and numerical simulation. The proposed antenna here can operate in the 5GHz bands(IEEE 802.1la) and be adopted in small wireless communication systems.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.