• Journal of the Earthquake Engineering Society of Korea
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• v.12 no.4
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• pp.19-33
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• 2008

Dynamic response measurements from natural excitation were carried out for 25- and 42-story buildings to evaluate their inherent properties, such as natural frequencies, mode shapes and damping ratios. Both are reinforced concrete buildings adopting a core wall, or with shear walls as the major lateral force resisting system, but frames are added in the plan or elevation. In particular, shear walls in a 25-story building are converted to frames from the 4th floor level downwards while maintaining a core wall throughout, resulting in a fairly complex structure. Due to this, along with similar stiffness characteristics in the principal directions, significantly coupled and closely spaced modes of motion are expected in this building, making identification rather difficult. By using various state-of-the-art system identification methods, the modal parameters are extracted, and the results are then compared. Three frequency-domain and four time-domain based operational modal identification methods are considered. Overall, all natural frequencies and damping ratios estimated from the different identification methods showed a greater consistency for both buildings, while mode shapes exhibited some degree of discrepancy, varying from method to method. On the other hand, in comparison with analysis results obtained using the initial finite element(FE) models, test results exhibited a significant difference of about doubled frequencies, at least for the three lower modes in both buildings. To improve the correlation between test and analysis, a few manual schemes of FE model updating based on plausible reasons have been applied, and acceptable results are obtained. The advantages and disadvantages of each identification method used are addressed, and some difficulties that might arise from the updating of FE models, including automatic procedures, for such large structures are carefully discussed.

• The Journal of the Acoustical Society of Korea
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• v.37 no.5
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• pp.292-299
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• 2018

The vehicle exterior design is the main parameter of aerodynamic wind noise, but the modification of it is nearly impossible at a proto-type stage. Therefore, it is very important to verify exterior design and estimate the correct wind noise level at the early vehicle design stages. The numerical simulations of aerodynamic wind noises around A-pillar and wiper were developed for specific vehicle exterior designs, but could not be directly used for the discussions with designers because these need complex modeling and simulation process. This study proposes new approach to A-pillar and wiper wind noise estimation at design stage using response surface methodology of modeFRONTIER, of which database is composed of PowerFLOW simulation, PowerCLAY modeling, SEA-Baced (Statistical Energy Analysis-Based) interior noise simulation, and turbulent acoustic power simulation. New design parameters are defined and their contributions are analyzed. A state-of-the-art, easy and reliable CAT (Computer Aided Test) tool for A-pillar and wiper wind noise are acquired from this study, which shows high usefulness in car development.

• Journal of KIISE:Databases
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• v.30 no.2
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• pp.197-208
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• 2003

Abstract Workflow is not appropriately applied to coordinated execution of applications(steps) that comprise business process such as a collaborative series of tasks because of the lacks of network infra, standard of information exchange and data consistency management with conflict mode of shared data. Particularly we have not mentioned the problem which can be occurred by shared data with conflict mode. In this paper, to handle data consistency in the process of rollback for failure handling or recovery policy, we have classified rollback dependency into three types such as implicit rollback dependency in a transactional workflow, implicit rollback dependency in collaborative transactional workflows and explicit rollback dependency in collaborative transactional workflows. Also, we have proposed the rollback dependency compiler that determines above three types of rollback dependency. A workflow designer specifies the workflow schema and the resources accessed by the steps from a global database of resources. The rollback dependency compiler generates the enhanced workflow schema with the rollback dependency specification. The run-time system interprets this specification and executes the rollback policy with data consistency if failure of steps is occurred. After all, this paper can offer better correctness and performance than state-of-the-art WFMSs.

• Journal of Broadcast Engineering
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• v.24 no.6
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• pp.1035-1052
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• 2019

Recently, as the demand for immersive videos increases, efficient video processing techniques for omnidirectional immersive video is actively developed by MPEG-I. While the omnidirectional video provides a larger degree of freedom for a free viewpoint, the size of the video increases significantly. Furthermore, in order to compress 6 degree-of-freedom (6 DoF) videos that support motion parallax, it is required to develop a codec to yield better coding efficiency. In this paper, we develop a 6 DoF codec using Versatile Video Coding (VVC) as the next generation video coding standard. To the authors' best knowledge, this is the first VVC-based 6 DoF video codec toward the future ISO/IEC 23090 Part 7 (Metadata for Immersive Media (Video)) MPEG-I standardization. The experiments were conducted on the seven test video sequences specified in Common Test Condition (CTC) in two operation modes of TMIV (Test Model for Immersive Media) software. It is demonstrated that the proposed codec improves coding performance around 33.8% BD-rate reduction in the MIV (Metadata for Immersive Video) mode and 30.2% BD-rate reduction in the MIV view mode as compared to the state-of-the-art TMIV reference software. We also show the performance comparisons using Immersive Video PSNR (IV-PSNR) and Mean Structural Similarity (MSSIM).

• International Journal of High-Rise Buildings
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• v.10 no.4
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• pp.345-364
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• 2021

Developments in the understanding of fire behaviour for large open-plan spaces typical of tall buildings have been greatly outpaced by the rate at which these buildings are being constructed and their characteristics changed. Numerous high-profile fire-induced failures have highlighted the inadequacy of existing tools and standards for fire engineering when applied to highly-optimised modern tall buildings. With the continued increase in height and complexity of tall buildings, the risk to the occupants from fire-induced structural collapse increases, thus understanding the performance of complex structural systems under fire exposure is imperative. Therefore, an accurate representation of the design fire for open-plan compartments is required for the purposes of design. This will allow for knowledge-driven, quantifiable factors of safety to be used in the design of highly optimised modern tall buildings. In this paper, we review the state-of-the-art experimental research on large open-plan compartment fires from the past three decades. We have assimilated results collected from 37 large-scale compartment fire experiments of the open-plan type conducted from 1993 to 2019, covering a range of compartment and fuel characteristics. Spatial and temporal distributions of the heat fluxes imposed on compartment ceilings are estimated from the data. The complexity of the compartment fire dynamics is highlighted by the large differences in the data collected, which currently complicates the development of engineering tools based on physical models. Despite the large variability, this analysis shows that the orders of magnitude of the thermal exposure are defined by the ratio of flame spread and burnout front velocities (V_S / V_BO), which enables the grouping of open-plan compartment fires into three distinct modes of fire spread. Each mode is found to exhibit a characteristic order of magnitude and temporal distribution of thermal exposure. The results show that the magnitude of the thermal exposure for each mode are not consistent with existing performance-based design models, nevertheless, our analysis offers a new pathway for defining thermal exposure from realistic fire scenarios in large open-plan compartments.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.43 no.6 s.312
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• pp.97-104
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• 2006

The state-of-the-art H.264/AVC standard was designed for the lossy video coding so that it could not yield the best performance for lossless video coding. In this paper, we propose two efficient intra lossless coding methods by embedding a pixel-wise prediction into the H.264/AVC. One is based on the pixel-wise prediction for the residual signal of the H.264/AVC intra Prediction and the other suggests a newly additional intra prediction mode for the conventional intra prediction. We found that the proposed lossless coding algorithms could achieve approximately $12%{\sim}25%$ more bit saving compared to the H.264/AVC FRExt high profile for several test sequences in terms of a compression ratio.

• Journal of the Korean Society of Costume
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• v.30
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• pp.239-259
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• 1996

This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.