• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.14 no.2
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• pp.24-29
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• 2015

In this paper, a microstrip antenna with isoflux radiation patterns is presented for Low Earth Orbit(LEO) medium-sized satellites. Because of making isoflux patterns, the ground of proposed antenna under the patch was transform into a trapezoid for adjusting fringing field between the patch and ground. Next, the cavity walls were located at end of the ground for reducing back radiation. The proposed antenna was designed to receive S-band uplink(2.025 ~ 2.110 GHz) and the dimensions of the designed antenna with the ground are $160mm{\times}160mm{\times}40mm$ ($1.1{\lambda}{\times}1.1{\lambda}{\times}0.3{\lambda}$, ${\lambda}$ is the free-space wavelength at 2.068 GHz). Measured -10 dB bandwidth was 90 MHz(4.4 %) and it covers the required system bandwidth. Also, measured 3 dB axial ratio was 18 MHz(0.9 %). On the other hand, measured radiation patterns were isoflux patterns and its measured gain was 5.31 dBi at E-plane $46^{\circ}$ in the y-axis pol.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.260-279
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• 2021

The Goguryeo kingdom established a unique defense system centered on a series of mountain fortresses. However, modern-day studies on its defense system have tended to focus on how they were positioned and generally consist of little more than individual surveys or introductions to the relevant materials, leaving much to be desired. This study attempts to extend the scope of studies about fortresses dating back to the Goguryeo period, taking into account the limitations of the available materials. As such, this study reviews the defense system of Goguryeo during the Gungnaeseong Period (i.e., the period when Gungnaeseong was the capital of Goguryeo) using the GIS system, with the focus on fortresses that are thought to have been built in the area extending from the middle and upper reaches of the Amnok River to the mid-stream region of the Liohe River, based on the aforementioned studies. The results of the study are as follows. First, the major roads built during the Gungnaeseong Period were as stated in the foregoing studies to some extent. Researchers believed that during the middle period of the dynasty, a major road ran along the Suzihe, Fuer and Xinkai rivers before finally reaching Jian. The study found that fortified walls and fortress strongholds were built along this road. Second, there were seven fortresses between the middle and upper reaches of the Amnokgang River and the midstream region of the Liaohe River. A primary defense line was closely established between the strongholds and the nearby walls, with secondary and tertiary defense lines established more loosely and encompassing a much wider area. Third, regarding the defense system along the major roads, the Choejinbosanseong, Goisanseong and Cheolbaesanseong fortresses served as strongholds along the 60-kilometer-long primary defense line, with 80-kilometer-long secondary and tertiary defense lines set up behind it. The final 120-kilometer-long defense line of the capital was established along with the Onyeosanseong Fortress, while a stumbling block was set up close to the capital as a defense system, rather than building a fortified wall. To summarize, a primary defense system was established centered on a series of fortresses, with each stronghold maintaining a closely-knit defense system in connection with other nearby strongholds to repel invaders.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.