• Fibers and Polymers
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• v.3 no.1
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• pp.8-13
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• 2002

The effect of block sequence on the self-assembly of ABC-type triblock copolymers in the ordered state is investigated using an isothermal-isobaric molecular dynamics simulation. The block sequence has an important effect ,on the ]norphology of ABC triblock copolymers. Different morphologies are observed depending on the block sequence as well as the block composition. The triblock copolymers with the volume fraction of 1 : 1 : 1 ($f_A$=$f_B$=$f_C$= 0.33) show the three phase and four layered lamellar structures irrespective of the block sequence. The $A_{32}$$B_{16}$$C_{32}$triblock copolymer with $f_B$=0.2 shows a morphology In which cylinders of midblock B are formed at the interface between A and C lamellae, whereas the morphology of triblock copolymer $B_{16}$$C_{32}$ $A_{32}$ and $C_{32}$ $A_{32}$ $B_{16}$ show a cylindrical core-shell structure and a lamellar type morphology, respectively. The $A_{20}$$B_{40}$$C_{20}$the triblock copolymer with the block B as a major component shows a tricontinuous structure, whereas both $B_{40}$$C_{20}$$A_{20}$ and $C_{20}$$A_{20}$$B_{40}$ triblock coolymers exhibit the lamellar structures. When the block B has larger volrome fraction with $f_B$=0.75, the matrix is composed of block B, and other two blocks A and C form spherical domains.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Architectural research
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• v.8 no.2
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• pp.17-26
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• 2006

This paper attempts to identify the term "tectonics" comprehensively by collecting and categorizing existing definitions of tectonics within the architectural area rather than to stress the concept of tectonics of each specific theorist. Although no consensus of opinion on the concept of tectonics exists, architectural tectonics was closely related to the following terms in three categories: 1. $techn\acute{e}$, technique, and technology; 2. construction and structure; and 3. stereotomics. Based on its etymology, system, and material construct, the notion of tectonics common in these three categories signifies "the art of framing construction," in which linear elements are connected with joints and clad or infilled with lightweight material. Thus, the art of framing construction, as a common concept of tectonics, reveals the following characteristics: First, tectonics is based on framing construction in contrast to piling-up construction as the etymology of tectonics signifies the art of carpentry. Then, the term tectonics, dealing as it does with a higher level of construction rather than the mechanical level of structure, incorporates the poetic aspect of techne as well as the rational aspect of technology. Third, Owing to the organic, double system of tectonic frame and incrusting or infilling materials, the tectonic body becomes both the ornament and the structure simultaneously. As the art of framing construction is based on material construction rather than structural or ornamental form, this paper proposes that one can view tectonics as a term that conveys the meaning of the actual material effect on space.

• Macromolecular Research
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• v.17 no.2
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• pp.84-90
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• 2009

We prepared side-chain liquid crystalline polymers comprising two monomeric units, one having a mesogenic side group that could form a smectic mesophase and the other having a phenolic group attached to the polymer backbone via a thermally reversible urethane bond. The urethane linkage between the isocyanate and phenol groups was stable at room temperature, but it cleaved to generate an isocyanate group when the temperature was increased. When annealed, the copolymers in their smectic mesophases became insoluble in common organic solvents, suggesting the formation of network structures. XRD analysis showed that the annealed polymers maintained their smectic LC structures. The crosslinking process probably proceeded via the reaction of the dissociated isocyanate groups. Some of the isocyanate groups would have first reacted with moisture in the atmosphere to yield amino groups, which underwent further reaction with other isocyanate groups, resulting in the formation of urea bonds. We presume that only polymer chains in the same layer were crosslinked by the reaction of the isocyanate groups, resulting in the formation of a layered polymer network structure. Reactions between the layers did not occur because of the wide layer spacing.

• Applied Chemistry for Engineering
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• v.1 no.1
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• pp.23-29
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• 1990

The effect of a rapid freeze pretreatment of organic ion exchange resins on their grinding properties was studied. It was found that the structure of ion exchange resins was defected by freezing pressure formed in the process of rapid freezing. The defected resins didn't recover their own structure after thawing and those could be easy to be broken at room temperature by small force. Therefore, organic ion exchange resins could be ground readily at room temperature after rapid-freezing the fully swelled resins using by solid carbon dioxide, or liquid nitrogen. The rapid freeze pretreatment of cation exchange resins was very effective on grinding in particular. However, the effect of the pretreatment of anion exchange resins on grinding was less than that of cation exchange resins. In case of anion exchange resins, the ionic form of affected the grindability remarkably.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.32 no.5
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• pp.199-204
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• 2022

A new three-dimensional Gd-MOF, [Gd(p-XBP4)₄(H₂O)]·W(CN)₈; (1; p-XBP4 = N,N'-p-phenylenedimethylenbis (pyridin-4-one)) has been synthesized by slow-evaporation and its crystal structure was characterized by single-crystal X-ray diffraction (SCXRD) analysis. For each Gd^III ion, there are seven coordination sites, which are occupied by six oxygen atoms of six p-XBP4 ligands and one oxygen atom from the water molecule. The [W(CN)₈]^3- anion exists for charge balance with cationic framework. The Gd^II ions are interconnected by the p-XBP4 ligand to form the three-dimensional structure. Considering the magnetic property of lanthanide ions, magnetic studies of Gd-MOF were investigated by direct-current (DC) magnetic susceptibilities measurements.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.3
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• pp.16-26
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• 1991

The traditional housing of Cheju Island has been steadily researched, but from the point of an environmental view which has been neglectly treated all the while, the formative process of the housing and its relationship to the structure of a village are studied, so the writer summarized the relation to the housing type. To study the peculiarity of the physical space, a type of a way, and element of the spatial structure, by stage and a type of the arrangement of the residential space are researched and analyzed, and to understand the plane peculiarity, the distribution of the plane type has been studied. In consequence, the housing and the structure and the form of the village have an organic relation each other and have been made under a very diverse and mixed background, we can find. Especially, the element of the natural environment acts as an important element which decides the type of life and the residential type. The arrangement of buildings is gradually free from the traditional type, but a traditional type of "Three-Room House" is kept well in spite of a change of the plane type.

• Journal of Science of Art and Design
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• v.13 no.1
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.