• Journal of the Korean Institute of Electrical and Electronic Material Engineers
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• v.28 no.1
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• pp.1-6
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• 2015

Generating output characteristics of a ${\pi}$-type piezoelectric harvester depending on size of the ceramic and the elastic body were studied. The ${\pi}$-type piezoelectric harvester consists of a rectangular piezoelectric ceramic and a ${\pi}$ shaped elastic body. If the tensions is applied at both ends of an elastic body legs, the piezoelectric effect occurs at the ceramics through the form change of the elastic body. The structure of this ${\pi}$-type harvester can be used in a various area than an existing type generator, because it prevent from direct pressure to the ceramic. Generating characteristics of the harvester were analyzed by using finite element method program. The piezoelectric harvester was fabricated on the basis of analyzed results and attached on a frequency controllable vibrator to measure the output characteristics. And generating characteristics were defined by comparing analysis results and experimental results. The highest output voltage was obtained when the ceramic length, thickness were 20 mm, 0.5 mm in the analysis result. And experiment was performed by analysis results at low frequency region, output voltage was generated about 6 V.

• Journal of the Korean Institute of Rural Architecture
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• v.24 no.4
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• pp.133-139
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• 2022

This study deals with the formation of Jongyeonbangjeok's Gwangju Factory in the 1930's to 80's, and the findings are shown below: In the period of formation, the factory was rectangular-shaped from north to south, and the structure was located at the center of the site, and in the east of it, there was a dormitory connected from south to north. The building was arranged with an open area on the south. In the east of the site where company houses were located, same-sized structures were arranged along the axis.In the period of change, the factory was restored about the damage from the Korean War, and it went through the process of division into two companies. As a result, the factory in the center of the site was divided into left and right ones, and the dormitory and the group of company houses were, too, divided into two, so division was made largely into southern and northern parts. In the period of stabilization, along with factory extension in each of the companies, welfare for factory workers was expanded by building more houses or opening sport facilities. After the 1980's, too, the existing factories were either extended or remodeled according to the induction of equipment, and some showed changes in their functions due to a fire or such.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.4-19
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• 2012

There remain many royal tombs of the Goryeo Dynasty in Gaeseong and Ganghwa. During the Goryeo Dynasty, these royal tombs were taken over tradition of tomb construction style from previous generation, and they completed their own inventive style. Furthermore they handed down those style to the Joseon Dynasty. The area of tomb was divided into 3 or 4 steps, and stone figures and T-shaped houses for sacrifice were arranged on each steps. It was the stone chamber of lateral opening style which had an entrance to southward, and it was formed as a rectangular box-shaped with a pile of stone walls and a flat ceiling. There was a coffin stand in the middle of floor, and traditional bricks were around them. The wall side and ceiling had been whitewashed and painted pictures. These are general characteristics for the tomb construction style of the Goryeo Dynasty. By the way, we can notice a number of features except those general things with inspection in detail. In early days, we confirmed 1step-parallel fulcrum ceiling, coffin stand of all in one stone, bier of burial artifact, and mural of plant material as a set, but they were changed as flat ceiling, Red-stone wall with rectangular stone, coffin stand set as stone pillar through the period of transitional form as of in the late 12th century. In case of several royal tombs, the fragments of king's epitaph which were confirmed from tombs could be defined owners clearly, and there were considerable timing difference between the large numbers of celadons which were excavated with the fragments of king's epitaph and recording chronologically of stone chamber structure. The reason for timing difference is that posterity artifacts were buried through repairing courses by occasion of destruction caused by robbing of the royal tombs. Meanwhile I inferred the existing hypothesis about owners of royal tombs and autonym ones in comparison the burial spot direction of hypothesis ones and outcomes of excavation. Therethrough, some hypothesis about owners of royal tombs such as Myung-neung which was assumed as tomb of the King Choongmok were not correct.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.16 no.5 s.96
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• pp.501-510
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• 2005

In this paper, the miniaturized linear and circular polarization microstrip antennas are designed and fabricated at the resonant frequency of 1.575 GHz. To miniaturize the microstrip patch antenna(MPA), the 'L' type plates are attached under the rectangular microstrip patch. In case of the linear polarization, the size of the microstrip antenna attached the 14 plates is reduced to $67.9\%(47mm{\times}47mm)$ compared with general $MPA(83mm{\times}83mm)$. The return loss and -10 dB bandwidth are -34.4 dB and 49 $MHz(3.1\%)$. And the radiation pattern is broad through the size reduction of the patch. Also in case of the circular polarization, the size of the microstrip antenna with 13 plates is reduced to $54.6\%(53mm{\times}54mm)$ compared with the general $MPA(76mm{\times}83mm)$. The axial ratio is 1.37dB at 1.575 GHz, the 2 dB axial ratio bandwidth is 14 $MHz(0.8\%)$. As that result, we could confirm that 3-dimensional structure with attached 'L' shaped plate is proper form for the miniaturization of linear and circular polarization microstrip antenna.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.196-219
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• 2019

According to the Samguk Yusa, the nine-story wooden pagoda at Hwangnyongsa Temple was built by a Baekje artisan named Abiji in 645. Until the temple was burnt down completely during the Mongol invasion of Korea in 1238, it was the greatest symbol of the spiritual culture of the Korean people at that time and played an important role in the development of Buddhist thought in the country for about 700 years. At present, the only remaining features of Hwangnyongsa Temple, which is now in ruins, are the pagoda's stylobate and several foundation stones. In the past, many researchers made diverse inferences concerning the restoration of the original structure and the overall architecture of the wooden pagoda at Hwangnyongsa Temple, based on written records and excavation data. However, this information, together with the remaining external structure of the pagoda site and the assumption that it was a simple wooden structure, actually suggest that it was a rectangular-shaped nine-story pagoda. It is assumed that such ideas were suggested at a time when there was a lack of relevant data and limited knowledge on the subject, as well as insufficient information about the technical lineage of the wooden pagoda at Hwangnyongsa Temple; therefore, these ideas should be revised in respect of the discovery of new data and an improved level of awareness about the structural features of large ancient Buddhist pagodas. This study focused on the necessity of raising awareness of the lineage and structure of the wooden pagoda at Hwangnyongsa Temple and gaining a broader understanding of the structural system of ancient Buddhist pagodas in East Asia. The study is based on a reanalysis of data about the site of the wooden pagoda obtained through research on the restoration of Hwangnyongsa Temple, which has been ongoing since 2005. It is estimated that the wooden pagoda underwent at least two large-scale repairs between the Unified Silla and Goryeo periods, during which the size of the stylobate and the floor plan were changed and, accordingly, the upper structure was modified to a significant degree. Judging by the features discovered during excavation and investigation, traces relating to the nine-story wooden pagoda built during the Three Kingdoms Period include the earth on which the stylobate was built and the central pillar's supporting stone, which had been reinstalled using the rammed earth technique, as well as other foundation stones and stylobate stone materials that most probably date back to the ninth century or earlier. It seems that the foundation stones and stylobate stone materials were new when the reliquaries were enshrined again in the pagoda after the Unified Silla period, so the first story and upper structure would have been of a markedly different size to those of the original wooden pagoda. In addition, during the Goryeo period, these foundation stones were rearranged, and the cover stone was newly installed; therefore, the pagoda would seem to have undergone significant changes in size and structure compared to previous periods. Consequently, the actual structure of the original wooden pagoda at Hwangnyongsa Temple should be understood in terms of the changes in large Buddhist pagodas built in East Asia at that time, and the technical lineage should start with the large Buddhist pagodas of the Baekje dynasty, which were influenced by the Northern dynasty of China. Furthermore, based on the archeological data obtained from the analysis of the images of the nine-story rock-carved pagoda depicted on the Rock-carved Buddhas in Tapgok Valley at Namsan Mountain in Gyeongju, and the gilt-bronze rail fragments excavated from the lecture hall at the site of Hwangnyongsa Temple, the wooden pagoda would appear to have originally been an octagonal nine-story pagoda with a dual structure, rather than a simple rectangular wooden structure.

• Science of Emotion and Sensibility
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• v.20 no.3
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• pp.141-150
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• 2017

The purpose of this study was to analyze the effect of the shape and attached position of E-textile-based stretchable sensors on motion-sensing performance and to investigate the requirements for the optimal structure of clothes for sensing limb motions. An experimental garment was prepared with different sensor shapes, and attachment positions. A child subject, wearing the experimental garment, performed arm and leg bending and extension motions at $60^{\circ}$, $90^{\circ}$ and $120^{\circ}$ motion angles, at a rate of 60 deg/sec. The changes in voltage triggered by the stretching and contracting of the fabric-sensor were measured, and an acceleration sensor was utilized to verify that the experimental motions were correctly performed. Dummy arms and legs of a child were manufactured to perform an identical test, in order to compare the dummy results with the actual human body experiment results. The analysis showed that the reproducibility and reliability of the rectangular sensor, showing uniform and stable were higher than those of the boat-shaped sensor, in both the dummy and the human body experiments. The attachment position of the sensor was more reproducible and reliable when placed on 4 cm below the elbow and knee joints in the dummy test, when placed in the joints of the elbow and knee, in children experiment. The appropriate shapes and attached positions of the sensor for sensing the motions were analyzed, and the results proved that motion-sensing of the human body is possible by utilizing flexible fabric-sensors integrated into clothes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.