• 한국실내디자인학회논문집
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• 제26권6호
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• pp.163-171
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• 2017

Brick is not only aesthetically beautiful and emotional material, but also eco-friendly and good building commodity for human health. Nonetheless, the use of brick has declined, due to the difficulty of building high-rise buildings and the limitation of the free form implementation. However, modern society is increasingly interested in environmentally friendly finishing materials for solving environmental problems. From this point of view, the brick architecture is being reexamined as a material to improve the living environment and to provide comfort without destroying nature. In addition, the development of digital technology enables the implementation of various types of masonry method and curved forms. Parametric design is one of the ways to realize the curved forms and various architectural expressions for brick architecture. In this background, the purpose of this study is to develop algorithms that can easily generate curved brick walls through parametric design, enable various pattern designs, and respond to real-time feedback. The details of the study are as follows. First of all, we examine organic architecture, the trend of brick architecture, and the concept of parametric design. Secondly, In order to generate curved surface with complex curvature, major planning factors affecting form generation are examined. Finally, we develop a parametric design method that consists of generating a curved surface for brick arrangement, implementing a parametric algorithm, and generating a curved form using bricks. Consequentially, we propose an algorithm that can maximize the use of ready-made bricks without using cut bricks to design curved walls and present efficient and economical design alternatives.

• 한국전기전자재료학회:학술대회논문집
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• 한국전기전자재료학회 2007년도 하계학술대회 논문집 Vol.8
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• pp.57-57
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• 2007

Aspheric glass lenses have many optical advantages, for glass have superior optical performance and an aspheric form can reduce optical aberrations. Recently, the use of it is rapidly expanding as the mass production becomes possible by glass molding press and so this method is considered as the best method for fabricating an aspheric glass lens, but it is difficult to control many parameters for pressing and cooling process. Design of experiments (DOE) is a very useful tool to design and analyze complicated industrial design problems. This study investigated the pressing conditions to mold aspheric glass lenses for mega pixel phone camera module using DOE method. We have applied fractional factorial design and the response variable was set form accuracy (PV) of aspheric surface of molded lens. The results of analysis indicates that all factors expect for pressing force of each step are available for the form accuracy (PV). It was the optimum condition of the designed pressing conditions for lowering the form accuracy(PV) value of molded lens that all factors were at the low level. The form accuracy (PV) of mold and molded lens under the optimum condition are $0.85\;{\mu}m$ and $0.922\;{\mu}m$ respectively.

• 국제학술발표논문집
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• The 6th International Conference on Construction Engineering and Project Management
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• pp.401-404
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• 2015

Demand on free-form buildings is gradually increasing, yet owing to the difficulty of production-installation work, several problems occur in the construction phase upon construction of a building, including the increased cost and construction duration, and reduced constructibility. To solve these problems, a techonology to produce FCP using a CNC(Computerized Numeric Control) machine is developed. The technology is that the information of designed free-form buildings to the CNC machine is transferred, and the transferred information is used for RTM(Rod-Type Mold, the mold shaped by back-up rods) and PCM(Phase Change Material) shaping, and the shaped RTM and PCM have the role of molds to produce FCP. Construction duration and project cost are limited in building sites, so the efficiency of processes like production-installation of FCP for application of the technology is significant. Since it is almost impossible to change the production-installation process at the construction phase when they are established, process should be deliberately decided. Therefore, the purpose of the study is to propose a production-installation simulation model of free-form concrete panels, in aspect of PCM. This paper is establishing the process for production-installation of FCP, estimating time required by each construction type and proposing a time simulation model that changes according to various constraints based on the analyses. With the time simulation model, it will be possible to build a cost model and to review the optimal construction duration and project cost.

• 복식
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• 제40권
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• Human Ecology Research
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• 제58권2호
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• pp.215-228
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• 2020

Underlying dress forms for high coverage patterns are very important in the dress industry. Size 9 from brand D was chosen according to the analysis that it was the best option because a dress should have a large allowable range in one size. The criteria for selection were the dress form with a waist circumference of 63.50 centimeters, which is close to the standard size of women in Korea. Brassieres for dresses were included to enhance the aesthetic value of the correction process in producing a basic dress pattern. An experimental torso pattern was applied to evaluate the fit and suitability of the dress form that was also later verified in the process of the dress works. Three dresses were produced and presented on the chosen study dress form. The research procedures are as follows. First, the sell-through rates and feedbacks were collected from the dress form vendor. Second, a literature survey on dresses and a dress company investigation were conducted. Third, the amount of body dimension changes due to the use of a bra in the dresses were examined. Fourth, after the correction of the dress form, the torso pattern was made by draping. Fifth, the torso experimental clothing made of muslin material was evaluated. Sixth, the dress works of the top design were presented using the size 9 basic pattern developed by brand D.

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• 한국도서관정보학회지
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• 제10권
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• pp.229-265
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• 1983

Many changes have been made on the cataloging rules on filmstrips and slides all the way from the Cox's rules of 1963 to AACR 2 of 1978. The purpose of this study is to analyze eight major British and American cataloging rules on filmstrips and slides, from the results of which to identify what major changes have been made chronologically, and to clarify major differences among them in describing the form ol Physical Description Area. The findings of the study can be summarized as follows: 1. In order to make a clear distinction from one element to the other in Physical Description Area, the use of punctuation has been made more concrete. In AACR 2, various punctuations in accordance with the each element's character are used. 2. The rules on the describing the number of physical units of filmstrips have got more and more specified. 3. The descriptive form of specific material designation is closely related to the existence or nonexistence of rules on the general material designation in the body of entry. Therefore, the rules of AECT and CLA having rules on the general material designation do not use the specific material designation in Physical Description Area. On the other hand, ISBD(NBM), LA rules and AACR 2 which makes it optional to use the general material designation prescribe to use the specific material designation. 4. As for the descriptions of the physical status other than the unit and size of the filmstrips and slides, the first LC card and Cox's rules, had the color designation, and the CLA rules had sound designation. In the LA rules, AACR1(Chapter 12 Revised) and AACR 2, the detailed description of the physical status including the indication of color, sound, kind of frame, time etc. has become more and more important for Physical Description Area. 5. All the rules adopt millimetre as the measuring unit of the size of filmstrips. For the slides, most rules employ inch instead. But LA rules and ISBD(NBM) use centimeters, and AACR 2 takes either inch or centimeters. 6. Most rules, including Cox's rules, give the information on the accompanying materials. The information has been added as the last element of the Physical Description Area in the AACR 2, and recognized very important.

• Design & Manufacturing
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• 제13권4호
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• pp.23-27
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• 2019

People's interest in the environmental problems of the Earth is growing as they come to the modern world, and research is being actively conducted on how to protect the environment. As a result, the automobile industry, one of the causes of environmental pollution, is also affected. Therefore, research is being conducted to improve the fuel economy and light weight of cars, development of pollution-free cars such as electric cars, and aluminium materials that are lighter than ordinary steel sheets and easier to recycle are gaining attention. In this experiment, the material was formed to form a form of aluminium and the material reduction rate of the side wall of the foam was tested according to the amount of side wall. The material used in the experiment was A3003-O, which is less plastic than normal steel plates, but has excellent corrosion resistance, plasticity and weldability compared to aluminium materials, but has poor tensile strength. For tensile testing, a certain array of Forming Shapes was molded and the height of the Forming was set to 5mm, and the height of the Forming was 4.7mm, indicating that the difference between the first 5mm Forming and the height was not large. In addition, the material reduction rate was tested by giving 15, 0, and -0.15 teas, respectively, and was found to be valuable as a product only for -0.15.

• 대한금속재료학회지
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• 제50권10호
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• pp.753-761
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• 2012

The reduction behavior of low level oxides such as (T.Fe), (MnO) and ($P_2O_5$) in molten EAF slag was investigated using commercial reductants. In an air atmosphere, the slag volume increased and the reduction rate of the slag was very low due to the oxidation loss of reductants by oxygen in the air. The reduction rate of the slag was also low when a commercial reductant was used alone in an Ar gas atmosphere. The reason is probably because the material transfer through the interface between the slag and reductant is difficult due to the formation of high melting point oxide. When reductants were mixed with burnt lime in order to form low melting point reaction products, the reduction rate of the slag increased up to the range of 45-70%. By using the mixtures of reductants and burnt lime so as to form a low melting point slag at the reaction end, the reduction rate of the slag was improved up to 60-85%.

• 한국생활과학회지
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• 제8권1호
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.