• International Journal of Aeronautical and Space Sciences
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• v.13 no.4
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• pp.421-427
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• 2012

Solar Sail propulsion has been validated in space (IKAROS, 2010) and soon several more solar-sail propelled spacecraft will be flown. Using sunlight for spacecraft propulsion is not a new idea. First proposed by Frederick Tsander and Konstantin Tsiolkovsky in the 1920's, NASA's Echo 1 balloon, launched in 1960, was the first spacecraft for which the effects of solar photon pressure were measured. Solar sails reflect sunlight to achieve thrust, thus eliminating the need for costly and often very-heavy fuel. Such "propellantless" propulsion will enable whole new classes of space science and exploration missions previously not considered possible due to the propulsive-intense maneuvers and operations required.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.71-82
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• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.12
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• pp.1920-1926
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• 2021

The electronic inclinometer can measure and print various output data related to the ship's heel, rolling cycle, and amplitude. The electronic inclinometer that can support ship stability judgment is equipped with a platform that supports stability for recovery performance, so it is possible to provide data even for small ships that lack ship stability judgment information. GM is an important factor in determining stability, and each type of ship has different GM scope. The purpose of this paper is to analyze GM according to the type of target ship and to review for a stable GM proposal. In addition, it is expected that GM data for each ship type will be embedded in the electronic inclinometer for ship that meets international standards, and will be used as data for securing and reviewing GM for strengthening ship safety

• Journal of architectural history
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• v.12 no.1 s.33
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• pp.25-41
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• 2003

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche-Jeanneret and Stein-de Monzie. It proceeds on the basis of the following three themes: first, the relation between the regulating line and the dom-ino frame; second, its status as a proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vortical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzie. The repetition of its A:B grid and the standard $2.5m{\times}1.0m$ sliding window determined the proportions of both its plan and elevation, and thus the regulating line became 'automatic,' losing its viability as a practical tool. Though the regulating titles of the La Roche-Jeanneret look as if they were an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly 'redundant' regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that Le Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His 'parti' ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.87-101
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• 2005

Jazz derived from the blacks' work songs and made the frame of Jazz reaching blues and finally arrived at the recent time propagating itself as not only the blacks' music but all human being's music. This study has a purpose to suggest the Jazz image to the fashion design by examining the historical trace of Jazz which is one of popular music received by hearing sense. As for the result of the Jazz's effects by age, rhythmical beauty stressing dresses were in fashion by dance enjoying women in 1920's and dresses giving a mature atmosphere set the fashion in 1930's. in the beginning of 1990's, newly emerging Jazz was reflected to the popular culture along with the historical mode's fashion in the general society. The design's decided with two themes of Jazz Classic and Neo Fusion to modernly and naturally express the pursuit of strong color contrast which associated fast rhythm and lax image such as the counter melody of smooth Jazz. In that result, Jazz image with auditory feelings could suggest the various design motive and new idea to fashion design.

• Journal of the Korean Society of Costume
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• v.48
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• pp.197-216
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• 1999

This study reflects the aim of analyzing the formality and symbolism of the Chanel suit. Chanel had designed jersey and tweed cardigan suits in the 1910s and 1920s while her suits of the 1930s were crisply fitted. The suits of the 1950s and 960s while were comfortable and slightly boxy marked a significant step forword. Lagerfeld's mission at Chanel was to tranmute the basic elements of the Chanel style and make them contemporary. He has also introduced the contemporay wide shoulders and short tihht skirt In place of sensible knee-length skirts he offered hemlines that either grazed the ankles or exposed most of the thighs. Besides her very influential jersey and tweed cardigan suit Chanel continued to assert her considerable strength with materials often making her suits in very delicate feminizing fabrics. in place of the classic boxy tweed jacket Lagerfeld introduced jackets made of terrycloth denim and stretch fabric Many of Chanel's suits show a stylish sense of colour that would have made artist envious. Chanel and Lagerfeld chose variety of colours from beige and grey and black to blue green cerisen and red for her suits. They was completely in tune with the twentieth century understanding the changes in lifestyles of woman and also understanding how her clothes should cater to them Thus the Chanel suit is more a way of life than just a fashion and is synonymous with wealth and aritocracy. It is one of the most popular status-symbol styles of the 20th century.

• Clinical and Experimental Pediatrics
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• v.48 no.2
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• pp.204-207
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• 2005

Ketogenic diet is a high-fat, low-carbohydrate, low-protein diet used in the treatment of epilepsy since 1920's. Recently, it's use for intractable epilepsy in childhood has increased. Complications of ketogenic diet are known to include dehydration, vomiting, diarrhea, renal stones, metabolic derangement, hypercholesterolemia and refusal to eat. We experienced two cases of renal stones in children with intractable epilepsy during ketogenic diet.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.93-102
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• 2019

In 1960s Russian avant-garde architects such as Moisei Ginzburg, Konstantin Melnikov and Ivan Leonidov were rediscovered in the western architectural society. In this period Rem Koolhaas investigated the projects of Ivan Leonidov with great enthusiasm. In late 1920s and early 1930s when the hope and fantasy to the social revolution and technology reached the climax, The third generation of Russian avant-garde intended to find the new synthesis of the technology, the form and the social ideology. In this context, Leonidov proposed audacious projects from the small scale to the urban scale in the influence of Malevich's suprematism, Vesnin's technological fantasy and Ginzburg's concept of "social condenser". These projects seriously affected Koolhaas. This relationship of Leonidov and Koolhaas was indicated but not investigated in concrete manner. This study intends to analyze the projects of Leonidov and to investigate the relationship of Leonidov and Koolhaas in Delirious NewYork and in the projects of Koolhaas. We will analyse this relationship in three categories : hedonistic technology, social collectivity and pure geometry.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.445-459
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• 2010

William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams's passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams's montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams's poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of "things."

• Journal of Sericultural and Entomological Science
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• v.25 no.1
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• pp.21-26
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• 1983

The mulberry variety, Jeonweon No. 1, has been cultivated in some parts of Ho-Nam District since the variety was selected at the Jeonbuk Provincial Silkworm Egg Production Station in the latter half of 1920s. However, the characteristics of the ariety have not been reported. Therefore, the cultivation experiment on the variety was carried out to investigate the characteristics of the variety at Jeonju and Suweon for four years from 1979 to 1982. 1. The mulberry variety, Jeonweon No. 1, belongs to the Morus alba L. and the sprouting stage is medium. 2. The branch growth of the variety was rather slow, however the number of branches was more and the posture of branches opened wide. 3. The rate of cold injury of shoot tips was a little high, but resistance to disease and the lodging of branches was weaker, compared with the Gaeryangbbong variety. 4. The annual yield of leaves of the variety per 10a was 1,474kg, 14% less than that of the Gaeryangbbong variety.