• Bulletin of the Korean Mathematical Society
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• v.44 no.3
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• pp.483-492
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• 2007

In this paper, we study the map projections from pseudo-sphere $S_1^2$ onto the non-lightlike surfaces in the 3-dimensional Lorentzian space, $L^3$, with curvature zero. We show geometrical means and properties of $\mathbb{R}{\times}S_1^1-cylindrical$, $S^1{\times}L-cylindrical$ and $\mathbb{R}{\times}H_0^1-cylindrical$ projections defined on $S_1^2$ to cylinders $\mathbb{R}{\times}S_1^1,\;S^1{\times}L$ and $\mathbb{R}{\times}H_0^1$, respectively, and orthographic and stereographic projections on $S_1^2$ to Lorentzian plane, $L^2$.

• Korean Journal of Computational Design and Engineering
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• v.4 no.2
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• pp.153-161
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• 1999

An atomatic mesh generation scheme with unstructured quadrilateral elements on trimmed surfaces has been developed. Trimmed surfaces are often encountered in modeling of structures with complex shapes such as aircrafts, automobile structures, pressure vessels and etc. For unstructured mesh generation with quadrilateral elements, a domain decomposition algorithm employing loop operators has been used. Mesh generation on trimmed surface is performed in three steps. First, trimmed surfaces with holes or cuts are transformed to th largest projection planes in which the meshes are constructed. The constructed meshes are transformed to the u-v parametric plane and then finally to the original 3D surfaces. Th exact locations of holes or cuts in projection planes are determined by the Newton-Raphson method. Sample meshes are constructed to demonstrate the effectiveness of the proposed algorithm.

• Journal of the Korean Society for Precision Engineering
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• v.13 no.9
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• pp.104-113
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• 1996

In robot system, the robot manipulation needs the information of task and objects to be handled in possessing a variaty of positions and orientations. In the current industrial robot system, determining position and orientation of objects under industrial environments is one of major problems. In order to pick up an object, the roblt needs the information about the position and orientation of object, and between objects and gripper. When sensing is accomplished by pinhole model camera, the mathematical relationship between object points and their images is expressed in terms of perspective, i.e., central projection. In this paper, a new approach to determine the information of the supporting points related to position and orientation of the object using the robot vision system is developed and testified in experimental setup. The result will be useful for the industrial, agricultural, and autonomous robot.

• Proceedings of the IEEK Conference
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• 2007.07a
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• pp.353-354
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• 2007

This paper proposes the method which estimates the pointing region at the real world. This paper uses the technique to easily calibrate a camera of Z. Zhang. First, we calculate the projection matrix of each camera by the technique. Next, we estimate the location of the shoulder and the fingertip. Then we compute the pointing region in 3D real world by using projection matrix of each camera. Experiment result showed that the error between estimated point and the plane center point is less than 5cm.

• 전기의세계
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• v.31 no.3
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• pp.209-217
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• 1982

This paper considers a finite spectrum assignment Problem for a functional retarded linear differential system with delays in control only. In this problem, by generalizing from an abstract linear system characterized by Semigroups on a Hilbert space to a finite dimensional linear system, we unify the relationship between a control-delayed system and its non-delayed system, and then by using the spectrum of the generator-decomposition of Semigroup, we try to get a feedback law which yields a finite spectrum of the closed-loop system, located at an arbitrarily preassigned sets of n points in the complex plane. The comparative examinations between the standard spectrum assignment method and the method of spectral projection for the feedback law which consists of proportional and finite interval terms over present and past values of control variables are also considered. The analysis is carry down to the elementary spectral projection level because, in spite of all the research efforts, so far there has been no significant attempt to obtain the feedback implementation directly from the abstract representation forms in the case of multivariables.

• Proceedings of the KSRS Conference
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• v.1
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• pp.508-511
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• 2006

Generally, stereo pair images are necessary for 3D viewing. In the absence of quality stereo-pair images, it is possible to synthesize a stereo-mate suitable for 3D viewing with a single image and a depth-map. In remote sensing, DEM is usually used as a depth-map. In this paper, LiDAR data was used instead of DEM to make a stereo pair from a single aerial photo. Each LiDAR point was assigned a brightness value from the original single image by registration of the image and LiDAR data. And then, imaginary exposure station and image plane were assumed. Finally, LiDAR points with already-assigned brightness values were back-projected to the imaginary plane for synthesis of a stereo-mate. The imaginary exposure station and image plane were determined to have only a horizontal shift from the original image's exposure station and plane. As a result, the stereo-mate synthesized in this paper fulfilled epipolar geometry and yielded easily-perceivable 3D viewing effect together with the original image. The 3D viewing effect was tested with anaglyph at the end.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.61-68
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• 2009

The objective of this study was to examine the possibility of utilizing the immersion stereoscopic image with a curved-screen-display as a tool for evaluating the landscape. The curved-screen-display ensures the continuity of the image and can be simultaneously evaluated by many people. Fifty-meter-wide Gangnamdaero Boulevard in Seoul was selected for this study, and the simulation was done using computer graphics. With the computer simulation, a questionnaire on landscape preferences was conducted according to different visual environments (immersion, non-immersion) and different projection types(stereoscopic or plane image). In the results of this study, the landscape preference was largely dependent on the immersion environment. Using the immersion-type simulation, the observer can easily evaluate the preference with higher judgment power. The stereoscope or plane projection type does not have any significant result in terms of its judgment power. This result implies that it is very important to strengthen the sense of immersion by expanding the screen into an angled view in which the observer can become immersed while making and projecting the simulation to evaluate the landscape. As a landscape evaluation tool for examining the efficiency and usefulness of immersion simulation, this study has limitations in that it controls many factors in street landscape that adversely affect judgment. Accordingly, a detailed comparison and verification of the stereoscopic image in various environments, including street width and building height ratio, must be conducted.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• The korean journal of orthodontics
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• v.38 no.1
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• pp.41-51
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• 2008

Objective: The aim of this study was to compare the initial lateral cephalometric characteristics in two groups of patients: those that had mandibular setback surgery only and those that had mandibular setback surgery with advancement genioplasty. Methods: The lateral cephalograms of thirty-one patients were studied. Twenty-one Class III patients (group A) had only madibular setback surgery Twelve Class III patients (group B) had mandibular setback surgery with advancement genioplasty. Results: Differences between two groups were found in N-Me, ANS-Me, Occlusal Plane angle, Palatal Plane to U1, Mandibular Plane to L1, Mandibular Plane to L6, SN to U1, Sn-Stms, and Pog' projection. Compared to group A, group B showed more linguoversion and extrusion of upper incisors, more extrusion of lower incisors and lower first molar, and more steepness of the occlusal plane. N-Me, ANS-Me, and Sn-Stms were also longer in group B. But Pog' projection was shorter than group A. Conclusion: We conclude that certain initial lateral cephalometric characteristics may help indicate the inclusion of advancement genioplasty when mandibular setback surgery is planned in skeletal Class III patients.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.