• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.4
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• pp.55-68
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• 1994

It has been generally agreed that the city form especially in the preindustrial age resembled their own world view, either in the western or the eastern cultural sphere. So, we aimed to redefine the characteristics of oriental world views compared with the western one, in order to find the relative nature of the Korean townscapes. It is said that the both world views(of western and oriental) are composed of the contrastive binary concepts in common, but there seems to have been nearly contrary differences in these two world views. Wheareas the former was based on the passively segregational and oppositional dualism, the latter, on the dynamically harmonious and complementary dualism, called generally as 'Yin(陰) and Yang(陽)'. Thus, the oriental world view can be thought as the 'philosophy of the relationship', which aim to unify the dualism ultimately with the help of this relationship. So, we can assume a certain third and intermediate concept between these dual concepts of the world view, which can unify these two into the one holistic whole. And the focuses of the most traditional oriental philosophies were concentrated on this, so called, 'the third concept', namely Taoistic 'Tochu(道樞)', Buddhistic 'Kong(空)' or Confucian 'Chung(中)'. And this triple concept, including the third one, of the oriental world view revealed a more concrete form of the cosmological relationship, as the triple structure; 'Heaven(天), Earth(地), and Man(人)', in which the 'Man' is thought as the middle or the center of the world. In this manner, we could found this oriental 'triple world view' was revealed in the real topology of most places in the Korean traditional city and the whole townscape itself. So, in the scale of houses and the roads around them, we can construe the 'Maru(a central board-floored room)' and the 'Madang(a inner court)' as the 'third and intermediate space(中)' between the interior space(陰) and exterior space(陽) in the former, and between the private house(陰) and the public residential road(陽) in the former case, and between the dual parts(陰,陽) of the city representing the contrary social classes and the contrastive visual landscapes. So, we insist that this 'triple world view' represented in the townscape can be one of the most important characteristics of Korean traditional townscape. And this third intermediate spaces, which generate the active social contact and the harmonious relationship among the people, can be the most important cues, as the central places, in the interpretation of the Korean townscapes even in contemporary circumstance, which inherits its spatial and social frame more or less from the preceding one.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.159-169
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• 2012

Seokgasan(石假山) is originated in Goryeo, is a Korean traditional technique handed down to Joseon and Seokgasan is the Korean creative culture of gardening by artificial stones, which replicates small artificial mountain of natural landscape in the garden. The object of this study is Seokgasan made by Seong-im(成任), who was a civil minister in Joseon and lived from 1421 to 1484, in his residence located in Inwang Mountain, Hanyang and the purpose of this study is to investigate the historical meaning and symbol of Seokgasan made by Seong-im on the base of the relative old literatures and embody its shape and structure. According to the result of this study on Seokgasan of Seong-im, it can find out some facts as follows; Seokgasan of Seong-im in the early Joseon succeeded to the structural form of Seokgasan of the artificial rock mountain type connected pond, which was made-up firstly in the garden of the Palace of Manwoldae in the Middle Goryeo, and it was called firstly as 'Seokgasan' in the garden of Seong-im's house. Seong-im's Seokgasan in the early Joseon had more concentrated philosophical meanings, including the idea of taoist immortal, than those in the Goryeo dynasty and was be emblematic of an imaginative space. Also there were lots of gardens modeled on the famous mountains and famous lakes in China much the same as the Goryeo dynasty. In addition, there was an exceptional purpose for building Seokgasan which could not be found in the Goryeo dynasty. That was practicality for emotional stability and cure. Seong-im's Seokgasan is record-relics with high value of landscape architecture history, which can identify its historical meanings, shapes and structural frames succeeded from the Goryeo dynasty.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.19 no.7
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• pp.1639-1645
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• 2015

In UHD high-speed video transmission system, when a signal within certain frequency region coincides electrically and structurally, the system becomes unstable because the energy is concentrated, and signal flux is interfered and distorted. For the instability, power integrity analysis should be conducted. To remove the signal distortion for MLB, using a high-frequency design technique for EMI phenomenon, EMI which radiates electromagnetic energy fluxed into power layer was analyzed considering system stabilization. In this paper, we proposed an adaptive MLB design method which minimizes high-frequency noise in MLB structure, enhances signal integrity and power integrity, and suppresses EMI. The characteristic impedance for multi-layer circuit board proposed in this study were High-Speed Video Differential Signaling(HSVDS) line width w = 0.203, line gap d = 0.203, beta layer height h = 0.145, line thickness t = 0.0175, dielectric constant ε_r = 4.3, and characteristic impedance Zdiff = 100.186Ω. When high-speed video differential signal interface board was tested with optimized parameters, the magnitude of Eye diagram output was 672mV, jittering was 6.593ps, transmission frequency was 1.322GHz, signal to noise was 29.62dB showing transmission quality improvement of 10dB compared to previous system.

• Journal of Korean Society of Steel Construction
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• v.15 no.6 s.67
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• pp.683-691
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• 2003

Recently, the steel has been increaseingly used as an integrated part of high-rise buildings, which often composed of steel structures, steel reinforced concrete structures and composite structures. The steel base is designed to transfer the stresses induced from steel column to the reinforced concrete footing through the base plate. However, in the design of steel structures and steel reinforced concrete structure, it is generally difficult to evaluate the bearing strength of the steel base subjected to large axial force. Furthermore, the material used in steel base is quite different from those used in other connections and a load transferring mechanism of steel base is very complicated in nature. Therefore, a special attention must be placed in design and construction of steel base. In generally, the bearing strength test and research of the steel base subjected to concentrated load are carried out. But, in the design of the structures, uniaxial eccentric load is loaded to the steel base of the steel structures. In this research, the bearing strength and the me of failure considering eccentric loads and eccentric length, were experimented when eccentric load is loaded to the steel base of steel structures. Based on the test results, a basic design reference is suggested for a reasonable design of steel structures, steel reinforced concrete structures and composite structures.

• Land and Housing Review
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• v.2 no.4
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• pp.397-406
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• 2011

This research aims to develop various infill-systems for practically applying to long-life housing with 100-year durability and flexibility as a strategy for realizing sustainable residential environment. Especially, the developed infill-systems & technologies were concentrated to the mock-up house applied with the standard model of long-life housing, and their in-situ applicability by a phase, experts' consultation, and questionnaire survey were also evaluated. This research was executed to divide by 3 phases. In the First phase infill-systems for a housing unit of $84m^2$ exclusive use area as well as a support of whole structure and infill-systems including dry wall, and windows were constructed, and their in-situ applicability were evaluated. In the Second phase vertical integration of upper and lower housing units of $50m^2$ and $40m^2$ exclusive use area was investigated the first in domestic for 3 housing units of $50m^2$ exclusive use area. In addition, various infill-systems including the horizontal expansion of $50m^2$ and $10m^2$ exclusive use areas were also constructed and evaluated on their in-situ applicability. In the third phase diverse performance tests and field investigation for in-situ verifying of dry Ondol, developed this research, were executed to improve their practicability. Inner dry walls were taken apart, moved and re-constructed for verifying their practicability to investigate 3R-Reduce, Reuse and Recycle-realization too.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Food Engineering Progress
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• v.14 no.2
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• pp.159-165
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• 2010

Red ginseng tail roots (9.8 g water/100 g sample) were puffed at 7, 8, 9, and 10 $kg_{f}/cm^{2}$ using a rotational puffing gun. Puffed red ginseng was extracted with 70% ethanol, and the concentrated extract was successively partitioned with diethyl ether, n-butanol and $H_{2}O$. Two unknown ginsenosides from puffed red ginseng were found at 63 and 65 min of retention time in HPLC chromatogram suggesting that chemical structure of some ginsenosides might be altered during the puffing process. Identification of two unknown compounds was carried out using TLC, HPLC and NMR. Two major compounds were isolated from TLC. According to TLC result, compound I was expected to be the mixture of ginsenosides Rk1 and Rg5, and compound II was expected to be a 20(S)-ginsenoside $Rg_{3}$. Three compounds were isolated from n-butanol fraction through repeated silica gel and octadecyl silica gel column chromatographies. From the result of $^{1}H$- and $^{13}C$-NMR data, the chemical structures of unknown compounds were determined as ginsenoside $Rg_{5}$ and 20(S)-ginsenoside $Rg_{3}$. Unfortunately, ginsenoside $Rk_{1}$ could not be separated from ginsenoside-$Rg_{5}$ in the compound I. It was carefully reexamined using HPLC and confirmed that the last unknown compound was ginsenoside-$Rk_{1}$.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.33 no.6
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• pp.419-426
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• 2020

The structural design of the steel eccentrically braced frame (EBF) was developed and analyzed in this study through multiobjective optimization (MOO). For the optimal design, NSGA-II which is one of the genetic algorithms was utilized. The amount of structure and interfloor displacement were selected as the objective functions of the MOO. The constraints include strength ratio and rotation angle of the link, which are required by structural standards and have forms of the penalty function such that the values of the objective functions increase drastically when a condition is violated. The regulations in the code provision for the EBF system are based on the concept of capacity design, that is, only the link members are allowed to yield, whereas the remaining members are intended to withstand the member forces within their elastic ranges. However, although the pareto front obtained from MOO satisfies the regulations in the code provision, the actual nonlinear behavior shows that the plastic deformation is concentrated in the link member of a certain story, resulting in the formation of a soft story, which violates the capacity design concept in the design code. To address this problem, another constraint based on the Eurocode was added to ensure that the maximum values of the shear overstrength factors of all links did not exceed 1.25 times the minimum values. When this constraint was added, it was observed that the resulting pareto front complied with both the design regulations and capacity design concept. Ratios of the link length to beam span ranged from 10% to 14%, which was within the category of shear links. The overall design is dominated by the constraint on the link's overstrength factor ratio. Design characteristics required by the design code, such as interstory drift and member strength ratios, were conservatively compared to the allowable values.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.12-23
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• 2021

Due to high proportion of exports, Korea has a higher dependence on the global value chain (GVC) than other major developed countries. This reason, Korea has a structure that is sensitive to GVC changes. This is because Korean exports are concentrated on specific countries and items, and most of the materials for export tend to depend on imports. Currently, export restrictions resulting from trade disputes with Japan can affect the industry of Korea as a whole due to the supply of core materials. Therefore, in order to minimize economic damage caused by export regulations in the current situation, it is necessary to reorganize the GVC, through efforts to rapidly diversify imports and localize imports that depend on Japan. To this end, it is necessary to derive and classify imported goods that depend on Japan, and to localize items that are difficult to diversify imports, and prompt R&D investment is required for this. This study aims to support R&D investment policy through quantitative analysis based on big data rather than a decision-making method based on expert-centered qualitative analysis.

• Conservation Science in Museum
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• v.25
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• pp.51-62
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• 2021

The Belt with Rhinoceros-Horn Ornaments(known as a seodae in Korean) from the family of Princess Deokon's descendants housed in the National Hangeul Museum underwent emergency treatment for a special exhibition in 2019 upon the request of the National Hangeul Museum. Priority was given to the restoration of the original form of the severely damaged belt and the repair of its detached horn ornaments. Prior to the conservation treatment, researchers conducted a theoretical study of the belt with rhinoceros-horn adornments to learn the names of its structural components and the changes in form that the type experienced by period, thereby establishing a plan for conservation treatment and setting a direction. Among the belts worn by officials from the Joseon dynasty, rhinoceros-horn ornaments were attached to those of officials of the first rank and were considered the most precious behind the king's belt with its jade ornaments. The rhinoceros horn adorning the belt is classified into three categories according to quality. This belt has horn adornments of the highest quality, falling under the "grape design" category with dark brown dots concentrated in the center. The belt has a rectangular shape and lacks a buckle, reflecting a popular form from the nineteenth century. The structure of the belt was identified over the process of conservation treatment, offering information about its method of production. In addition, comparison of the relic with belts with rhinoceros-horn ornaments depicted in Joseon-period portraits of officials allowed the identification of changes in formal features and the detailed structures of belts with rhinoceros-horn ornaments by period. It confirmed that the belt subject to conservation treatment shows the features of belts with rhinoceros-horn ornaments produced in the nineteenth and twentieth centuries.