• Journal of Dental Rehabilitation and Applied Science
• /
• v.18 no.3
• /
• pp.145-155
• /
• 2002

The results of the present feasibility study are summarized as follows, 1. The three unit bridge of knitted material and UD fibre reinforcement has both the rigidity and the strength against a vertical occlusal load of 75N. 2. Stress concentration at the junctional area between the bridge and the abutments, i.e. between the pontic and the knitted caps was observed. In the case of the bridge with reinforcement straps, it was partly shown that the concentration problem could be improved by simply increasing the fillet size at the area. Further refining in the surface of the junctional area will be needed to ensure a further improvement in the stress distribution. This will require some trade off in the level of the stress and the available space. A parametric study will help to decide the appropriate size of the fillet. 3. Design refinement is a must to improve the stress distribution and realize the most favourable shape in terms of fabrication. The current straight bar with a constant cross section area can be redesigned to a tapered shape. The curve from the dental arch should also be placed on the pontic design. In accordance with design refinement, the resistance of the bridge frame to other load cases should be evaluated. 4. Although not included in the present feasibility study, it is estimated that bridges of the anterior teeth can be made strong enough with the knitted material without further reinforcement using unidirectional materials. In this regard, a feasibility study on design concepts and stress analysis for 3, 4, 5 unit bridge is suggested. 5. Two types of bridge were analysed in terms of fatigue. The safe life design concept, i.e. fatigue design concept, looks reasonable for the bridge where if cracks should form and propagate there is virtually nothing a dentist to do. The bridge must be designed so that no crack will be initiated during the life span. In the case of crowns, however, if constructed with composite resin with knitted materials, it might be possible to repair them, which in general is impossible for crowns of PFM or of metal. Therefore for composite resin crowns, a damage tolerance design concept can be applied and reasonably higher operational stresses can be allowed. In this case, of course, a periodic inspection program should be established in parallel. 6. Parts of future works in terms of structural viewpoint which need to be addressed are summarized as the following: 1) To develop processing technology to accommodate design concepts; 2) More realistic modelling of the bridge and analysis-geometry and loading condition. Thickness variation in the knitted material, taper in the pontic, design for anterior tooth bridge, the effect of combined loads, etc, will need to be included; 3) To develop appropriate design concepts and design goals for the fibre composite FPD aiming at taking the best advantage of knitted materials, including the damage tolerance design concept; 4) To develop testing method and perform test such as static ultimate load test, fatigue test, repair test, etc, as necessary.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.1
• /
• pp.18-39
• /
• 2016

The study pertains to reviewing and discussing of the master plan of the main buildings in the palaces of Joseon Dynasty regarding on a Feng Shui concept that has been implemented on the palace axis that is originated from the main mountain. Gyeongbokgung (景福宮) Palace is located on the northwest coner of Hanyang (漢陽) and on the tip of the main mountain which is in contrast a quite distinguishable from the location of the Fobidden city in Beijing located in the middle of a vast basin. Changdeokgung (昌德宮) Palace as well is also located on the tip of Eungbong (鷹峯), a part of Samkaksan (三角山) mountain, of which the locations were designed for the palaces to receive the benevolent force from the main mountain. The same concept was also applied to appointing the ideal location of the maJor buildings such as Jungjeon (正殿: The throne hall), Pyunjeon (便殿: The king's office) and Chimjeon (寢殿: The king and queen's residence) in the palace that must receive the benevolent force from the qui stream also originated from the main mountain, as such that the buildings have in close relationship with the king. Amisa (蛾眉砂) had been considered as an important geographical milestone of the estate where the palace is located, especially as the guiding landmark for other buildings that must be on the land axis. The land axis with the Amisa as the starting point attributed the Feng Shui as an important measure that determines the location and the shape of other buildings. The buildings location was appeared as having the conceptual buildings location as 'front office-back bedroom building (前朝後寢)' and 'three gates-three sectors (三問三朝)' as per the Rites of Zhou (周禮). On both palaces, Amisa is located on the benevolent point of the land, and the king's bed room buildings are located near the Amisa. The main offices were located on the south of the king's bed room buildings. By practicing this type of concept, consequently the king can receive the pure benevolent force first. In the case of the clearly distinguished locations of the buildings in Gyeongbokgung Palace, Chimjeon, Pyunjeon and Jungjeon were located on the same main qui stream. However, in Changdeokgung Palace where scattered qui stream is observed, the buildings are located on the scattered qui stream. The study found that the type of location of Jungjeon receives least amount of benefit from the Feng Shui but reflects primarily the king's authority rather than order and formality of the space.

• Land and Housing Review
• /
• v.2 no.2
• /
• pp.111-123
• /
• 2011

A Ubiquitous-Ecological City (U-Eco City) is the new urban paradigm integrated with ubiquitous-city (U-City) connecting the high-tech IT technology to the urvan space with the concept of the sustainable eco-city. As a U-Eco City is attempted for the first time domestically and internationally, there is insufficient discussions for its develoment goal, planned design proposal, technology and service element and others. Even if there are plans to build up it, policy and technology, service structuring business and others, it is difficult to assess how it would bring the efficacy. Therefore, the purpose of this study is to present the indicators system to assess a U-Eco City. The results of this study revealed the following; First, the conceptual framework, which was established to achieve sustainable urban quality, can be suggested by establishing its notion of the U-Eco City. The concept of a U-Eco City as established in this study suggests that the economic development in growth-oriented level has to be conducted not only quality of urban environment but also in terms of sustainable to consider the complex impact of various development; Secondly, the developed assessment system has heightened the completeness as the evaluation index through the attitude survey. As a result of questionnaire survey with the subject of specialists and interested party of this study, the urban qualitative aspect is formulated for the stability as a relatively important aspect. For the urban continuity aspect, society, environment and economy have all similar importance, but the environment element was shown to be highest. And finally, subject area was selected on the basis of the evaluation system and the analysis was made on the basis of the implementation design plan of the area. As a result of the assessment, safety and economy have shown to be high. This is indirectly indicated for the priority in economic growth driven development plan unlike the importance of environmental continuity obtained through the attitude survey. When planning on urban development, there is a need for supplementing the environment part and it has to present the connection plan between the economic growth and environmental continuity.

• Journal of Korean Academic Society of Home Health Care Nursing
• /
• v.11 no.1
• /
• pp.5-13
• /
• 2004

The home health care industry has grown rapidly and can be expected to continue to grow in the foreseeable future. Home health care refers to the practice of nursing applied to clients with a health condition in the clients place of residence. clients and their designated care givers are the focus at home health nursing practice. The goal of care is to initiate. manage and evaluate the resources needed to promote the clients optimal level of well-being and function. Nursing activities necessary to achieve this goal may warrant preventive maintenance and restorative emphases to prevent potential problems from developing. Many project program were suggested home health care model for Korea's health care system and policy direction for expansion and establishment of home health care .But the aim of this paper is to provide on overview for theoretical frame work in home health care. Theories and conceptual frameworks or models are important nursing because they define and guide the boundaries of professional practice and identify key nurse-patient-caregiver relationships that emerge with caring. Following is the research with an investigation of the literature review in the University of Arizona international medline database, In conclusion, are as followers: First, many nursing theorists have had a tremendous impact on nursing practice. the following highlights those nursing theorists that are particularly helpful in understanding home health care. 1. Florence Nightingale : Our earliest theoretical legacy. Nightingale's believes are reflected in basic infection control practice such as hand washing and infectious waste disposal and are key nursing interventions in home care. 2. Martha Roger's :Science of unitary human beings theory. Rorger's believed that the focus of shared. non invasive healing modelities is the human environmental field rather than direct physical care. These modelities continue to evolve as our awareness (reflecting greater diversity, faster rhythms, motions, and ways of knowing) transcends time and space, allowing individuals to get in touch with their integral nature of unbroken wholeness. On people as ever changing energy fields have special relevance in home care especially with hospice and palliative care applications. 3. Madeline Leininger's; Transcultural nursing theory. Home care nurses move through a variety of communities and often care for patients from different cultural back grounds. Therefore Leininger's work has a good that with home care because home care nursing practice is very culturally focused. 4. Dorothea Orem's : Self care deficit theory. Orem's theory views care as something to be performed by both nurses and patients. The role of the nurse is to provide education and support that help patients acquire the necessary activities to perform self-care. Orem's theory is foundational to have care because it begins to truly acknowledge the role of the patient in managing his or her own health. which is referred to as self-care. 5. Margaret Neuman's; Health as expending consciousness theory. Neuman believes that health compasses disease and reflects an underlying pattern of person-environment interaction. A key application of 'Neuman's work to home care is for nurses to understand that health and illness do not necessarily exist at opposite ends of a continuum. 6. Jean Watson's: Theory of human caring. Watson's theory of human caring in nursing proposes human caring as the moral ideal of nursing. Nurses participate human caring to protect, enhance and preserve humanity by assisting individuals to fing meaning in illness. pain and existence and to help others gain self knowledge. self control. and self healing such thinking lends richness to theory development. as well as clinical practice in home care. Second, Robin Rice : Dynamic self determination for self care. (A theoretical framework for home care) Dynamical self determination for self care can be useful to home care nurses in a variety of ways. As research tool it can be reflected in the interview process when the home visit. The home care nurse's role is that of facilitator of patient self-determination for self care through numerous strategies. including patient education and case management.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.38 no.3
• /
• pp.62-74
• /
• 2010

This study aims to examine what factors citizens value in urban parks and green spaces in terms of usage and aesthetic value and to find ways to deal with the changing patterns of user satisfaction for these various green elements. To achieve this, the study developed a dynamic model employing a transactional approach to evaluate environmental quality for 1999 and 2007 in Anyang City as well as a conceptual model of parks and greens satisfaction. This study relied on an empirical study method including the 1999 and 2007 green conditional survey and citizen questionnaires totaling 573 in the year 1999 and 982 in the year 2007. As a result, first, the factor 'urban parks' is the most important factor and 'cityscape' is the second most important factor in parks and greens satisfaction(PGS). Second, PGS in turn causes environmental quality satisfaction(EQS), which is related to two items--'urban livability' and 'aesthetic quality'--in the model. This means that PGS is the intervening variable of urban livability. Third, the factor analysis resulted in six factors: cityscape, urban green, linear facilities, urban parks, riverside green, and urban forest. 'Riverside green' emerged as a factor in 2007 as a result of public participation in the 'Anyang River Revitalization Project'. Fourth, through a transactional view, the environmental changes result in either a change in or stability of public attitude. The levels of satisfaction were elevated but patterns of satisfied-unsatisfied items remained unchanged for most factors. The perception of riverside a greenway and linear surface facilities(pedestrian walkways, biking and jogging trails, etc.) have changed positively. PGS changed significantly in 2007, as a result of urban events and development, including parks, rivers and greenways which were built through the joint effort of the local government and civic participation.

• Journal of Korean Theatre Studies Association
• /
• no.53
• /
• pp.31-56
• /
• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.3
• /
• pp.11-28
• /
• 2021

Due to its size and complex characteristics, it is not often to newly create a large park within an existing urban area. Also, there has been a lack of research on the planting design methodologies for a large park. This study aims to elucidate how ecological ideas can be applied to planting practice from a designer's perspective, and eventually suggest a planting design framework in the actual case, the Central Park in the City of Gwangju. This framework consists of spatial structure of planting area in order to connect and unite the separated green patches, to adapt to the changes of existing vegetation patterns, to maintain the visual continuity of landscape, and to organize the whole open space system. The framework can be provided for the spatial planning and planting design phase in which the landscape designer flexibly uses it with the design intentions as well as with an understanding of the physical, social, and aesthetic characteristics of the site. The significance of this approach is, first that it can maintain ecological and visual consistency of the both existing and introduced landscapes as a whole in spite of its intrinsic complexity and largeness, and second that it can help efficiently respond to the unexpected changes in the landscape. In the case study, comprehensive site analysis is conducted before developing the framework. In particular, wetlands and grasslands have been identified as potential wildlife habitat which critically determines the vegetation patterns of the green area. Accordingly, the lists of plant communities are presented along with the planting scheme for their shape, layout, and relations. The model of the plant community is developed responding to the structure of surrounding natural landscape. However, it is not designed to evolve to a specific plant community, but is rather a conceptual model of ecological potentials. Therefore, the application of the model has great flexibility by using other plant communities as an alternative as long as the characteristics of the communities are appropriate to the physical conditions. Even though this research provides valuable implications for landscape planning and design in the similar circumstances, there are several limitations to be overcome in the further research. First, there needs to be more sufficient field surveys on the wildlife habitats, which would help generate a more concrete planting model. Second, a landscape management plan should be included considering the condition of existing forest, in particular the afforested landscapes. Last, there is a lack of quantitative data for the models of some plant communities.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.16 no.6
• /
• pp.177-196
• /
• 2021

In the era of the 4th industrial revolution, high technology is causing many changes in modern society and economy. Among them, changes in industries and jobs require new competencies of future human resources. As an educational alternative to these changes, maker education and design thinking methods are spreading around the world, and it is necessary to actively apply such education in university curriculum. Therefore, this study examines the effects of the maker education using the design thinking method on the learners' competencies required as future human resources and, relationship between the development of university students' entrepreneurial competencies and learners' competencies. And the purpose of this study is to contribute to the vitalization of entrepreneurship education for university students by suggesting an educational model. For this purpose, this study investigated the prior research on maker education/environment and design thinking methods to examine concepts and characteristics, and analyzed the influences between maker education/environment and design thinking methods and the development of learners' personal, social and technological capabilities. In addition, this study analyzed the relationship between learners' developed capabilities and university students' entrepreneurial capabilities, and based on the results, suggested directions and conceptual models for education that combine maker education/environment and design thinking methods. In conclusion, maker education/environment and design thinking methods in university education have a positive effect on the cognitive, social, and technological development of learners, and this has a significant relationship with the factors of personal, social, and technological dimensions of university students' entrepreneurial competency. It is analyzed that it has a positive effect on the promotion of entrepreneurship activities of university students. Therefore, it is judged that university's interest and support should be given to the vitalization of maker education using the design thinking method for university student entrepreneurship education and future human resources nurturing.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.97
• /
• pp.14-54
• /
• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.