• School Mathematics
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• v.17 no.1
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• pp.35-46
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• 2015

In this paper, the teaching contents for angle and measure of an angle in elementary mathematics textbook between Korea and Japan were compared. From this comparison, the following five suggestions were presented as implications to improve the teaching contents for angle and measure of an angle in elementary mathematics textbook in Korea. First, it is necessary to reconsider the way of the definition of angle. There is no use of half line in elementary mathematics, except when to define angle, and the way to define angle and the way to define right angle are not consistent. Second, considering to associate the turning of plane geometrical figures to the $90^{\circ}$, $180^{\circ}$, $270^{\circ}$, $360^{\circ}$ is necessary, and associating them is connected to dealing with point-symmetrical shapes in the fifth grade. Third, there is a need to deal with "the measures of angles are same." in comparing angles. This is possible by superimposing two angles in comparing the measures of them. Fourthly, it is necessary to consider the introduction of the rotational angle. Dealing with the $360^{\circ}$ as the rotational angle is related to explaining that the sum of measures of interior angles in quadrangle is $360^{\circ}$. Fifth, it is necessary to be connected with middle school mathematics curriculum. The term 'straight angle' is used in middle school, and to obtain the sum of the measures of the interior angles of a regular polygon is the contents to be dealt with in middle school.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.37 no.3
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• pp.531-539
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• 2017

The strut-tie model approach has been recognized as an efficient methodology for the design of all types of concrete members with D-regions, and the approach has been accepted in design codes globally. However, the design of concrete members with the approach requires many iterative numerical structural analyses, numerous graphical calculations, enormous times and efforts, and designer's subjective decisions in terms of the development of appropriate strut-tie model, determination of required areas of struts and ties, and verification of strength conditions of struts and nodal zones. In this study, a computer graphics program, that enables the design of concrete members efficiently and professionally by overcoming the forementioned limitations of the strut-tie model approach, is developed. In the computer graphics program, the numerical programs that are essential in the strut-tie model analysis and design of concrete members including finite element analysis programs for the plane truss and solid problems with all kinds of boundary conditions, a program for automatic determination of effective strengths of struts and nodal zones, and a program for graphical verification of developed strut-tie model's appropriateness by displaying various geometrical shapes of struts and nodal zones, are loaded. Great efficiency and convenience during the application of the strut-tie model approach may be provided by the various graphics environment-based functions of the proposed program.

• Smart Structures and Systems
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• v.4 no.2
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• pp.221-232
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• 2008

This paper represents the final results of a research program sponsored by the European Commission through project WIND-CHIME ($\underline{W}$ide Range Non-$\underline{IN}$trusive $\underline{D}$evices toward $\underline{C}$onservation of $\underline{HI}$storical Monuments in the $\underline{ME}$diterranean Area), in which the possibility of using advanced seismic protection technologies to preserve historical monuments in the Mediterranean area is investigated. In the current research, the dynamic characteristics of two outstanding Mamluk-Style minarets, which similar minarets were reported to experience extensive damage during Dahshur 1992 earthquake, are investigated. The first minaret is the Qusun minaret (1337 A.D, 736 Hijri Date (H.D)) located in El-Suyuti cemetery on the southern side of the Salah El-Din citadel. The minaret is currently separated from the surrounding building and is directly resting on the ground (no vaults underneath). The total height of the minaret is 40.28 meters with a base rectangular shaft of about 5.42 ${\times}$ 5.20 m. The second minaret is the southern minaret of Al-Sultaniya (1340 A.D, 739 H.D). It is located about 30.0 meters from Qusun minaret, and it is now standing alone but it seems that it used to be attached to a huge unidentified structure. The style of the minaret and its size attribute it to the first half of the fourteenth century. The minaret total height is 36.69 meters and has a 4.48 ${\times}$ 4.48 m rectangular base. Field investigations were conducted to obtain: (a) geometrical description of the minarets, (b) material properties of the minarets' stones, and (c) soil conditions at the minarets' location. Ambient vibration tests were performed to determine the modal parameters of the minarets such as natural frequencies and mode shapes. A $1/16^{th}$ scale model of Qusun minaret was constructed at Cairo University Concrete Research Laboratory and tested under free vibration with and without SMA wire dampers. The contribution of SMA wire dampers to the structural damping coefficient was evaluated under different vertical loads and vibration amplitudes. Experimental results were used along with the field investigation data to develop a realistic 3-D finite element model that can be used for seismic risk evaluation of the minarets. Examining the updated finite element models under different seismic excitations indicated the vulnerability of such structures to earthquakes with medium to high a/v ratio. The use of SMA wire dampers was found feasible for reducing the seismic risk for this type of structures.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.25 no.11
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• pp.1172-1182
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• 2014

In these days, many kinds of goods are more light and more integrated. As frequency range of mobile applications have increased to improve performance of antenna furthermore, EMI(ElectroMagnetic Interference) problem has frequently caused by disturbance of antenna in device which aggravates other circuit. This paper proposes a technique for the prediction of noise power to the transmission line from antenna located near the line. Although noise power transferred to transmission line is varied by source impedance of antenna and load impedance of transmission line basically, the power magnitude can be presented in a square form of S-parameter between antenna and transmission line due to small variation of transferred power. For this reason, we can use the index expressed the transferred power varied along geometrical shapes of transmission line. As a result, big difference is occurred along location of antenna especially the bended line. And this such experiment is correspond with simulation, these results have meaning physically considering electromagnetic field distribution in near and far field. HFSS of Ansys and CPW with ground is used in this paper.

• Journal of Fashion Business
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• v.6 no.2
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.

• The Journal of Korean Academy of Prosthodontics
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• v.51 no.4
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• pp.261-268
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• 2013

Purpose: The purpose of this study was to investigate the effect of geometrically different wax pattern shapes and sizes on the castability of Grade2 Cp-Ti (commercially pure titanium). Materials and methods: Total of 40 mesh wax pattern ($61mm{\times}24mm$, 207 grids), ($61mm{\times}17mm$, 138 grids) was cast in this experiment. Depending on the geometrical shape of the wax pattern, 8 groups was organized; Flat, Semicircular, Horse-shoe and V-shape, each consisting 5 samples. Runner-bar sprue was used in all patterns. The number of completely cast grid in wax pattern served as a measure for the castability of comercially pure titanium. Results: The mean value of square count in each group was as followed; 133.20 squares in group SS (96.52%), 132.40 squares in group SH (95.94%), 132.00 squares in group SF (95.65%), 127.60 squares in SV (91.43%), 198.60 squares in group LF (95.94%), 197.80 squares in group LV (95.56%), 196.40 squares in group LS (94.88%), and 188.00 squares in group LH (90.82%). Conclusion: Within the limitations of this study the results indicate that there were no sttistically significant difference in castability of titanium regarding wax pattern shape (P>.05). However, Small size wax patterns were showing the noticeable castability more than Large size pattern.

• Journal of Radiation Protection and Research
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• v.41 no.1
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• pp.71-79
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• 2016

Background: It is necessary to analyze radioactivity of naturally occurring radioactive materials (NORM) in products to ensure radiological safety required by Natural Radiation Safety Management Act. The pretreatments for the existing analysis methods require high technology and time. Such destructive pretreatments including grinding and dissolution of samples make impossible to reuse products. We developed a rapid and simple procedure of radioactivity analysis for thorium series in the products containing NORM. Materials and Methods: The developed method requires non-destructive or minimized pretreatment. Radioactivity of the product without pretreatment is initially measured using gamma spectroscopy and then the measured radioactivity is adjusted by considering material composition, mass density, and geometrical shape of the product. The radioactivity adjustment can be made using scaling factors, which is derived by radiation transport Monte Carlo simulation. Necklace, bracelet, male health care product, and tile for health mat were selected as representative products for this study. The products are commonly used by the public and directly contacted with human body and thus resulting in high radiation exposure to the user. Results and Discussion: The scaling factors were derived using MCNPX code and the values ranged from 0.31 to 0.47. If radioactivity of the products is measured without pretreatment, the thorium series may be overestimated by up to 2.8 times. If scaling factors are applied, the difference in radioactivity estimates are reduced to 3-24%. Conclusion : The developed procedure in this study can be used for other products with various materials and shapes and thus ensuring radiological safety.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.