• Journal of the Korea institute for structural maintenance and inspection
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• v.28 no.1
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• pp.39-45
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• 2024

Seismic safety of expansion joints for piping systems has been underscored by water pipe ruptures and leaks resulting from the Gyeongju and Pohang earthquakes. Metal bellows in piping systems are applied to prevent damage from earthquakes and road subsidence in soft ground. Designed with a series of corrugated segments called convolutions, metal bellows exhibit flexibility to accommodate displacements. Several studies have examined variations in convolution shapes and layers based on the intended performance to be evaluated. Nonetheless, the research on the seismic performance of complex bellows having multiple corrugation heights is limited. In this study, monotonic loading tests, cyclic loading tests, and fatigue tests were conducted to evaluate the shear performance in seismic conditions, of metal bellows with variable convolution heights. Single- and triple-layer bellows were considered for the experimentation. The results reveal that triple-layer bellows exhibit larger maximum deformation and fatigue life than single-layer bellows. However, the high stiffness of triple-layer bellows in resisting internal pressure poses certain disadvantages. The convolutions are less flexible at lower displacements and experience leakage at a rate related to the variable height of the convolutions in certain conditions. At lower deformation rates, the fatigue life is rated higher as the number of layers increase. It converges to a similar fatigue life at higher deformation rates.

• Journal of Korean Tunnelling and Underground Space Association
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• v.26 no.3
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• pp.255-280
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• 2024

If there are concerns about the stability of segment lining due to section deficiency or large deformation in shield TBM tunnel, reinforcement can be done through ground grouting outside the tunnel or by using steel plate reinforcement, ring beam reinforcement, or inner double layer lining inside the tunnel. Traditional analyses of shield TBM tunnels have been conducted using a continuum method that does not consider the segmented nature of segment lining. This study investigates the reinforcement mechanism for double layer reinforced sections with internal steel linings. By improving the modeling of segment lining, this study applies Break-joint mode (BJM), which considers the segmented characteristics of segment lining, to analyze the deformation characteristics of double layer reinforced sections. The results indicate that the existing concrete segment lining functioned similarly to ground reinforcement around the tunnel, rather than distribution the load. In general, both the BJM model considering the segmentation of segment lining and the continuum rigid method were similar deformation shapes and stress distributions of the lining under load. However, in terms of deformation, when the load strength exceeded the threshold, the deformation patterns of the two models differed.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.1-11
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• 2015

Gyeongju, Silla capital, hasn't paid much attention to a value of fortress as advanced frame of landscape all the while. All have done until now were maintaining lots of fortress including Gyeongju and setting night landscape lighting for them or building a trail in mountain fortress. Hereupon, this study tried to take a look at historical and scenic value of fortress, landscape frame of Gyeongju-Silla capital, based on Wolseong and Myeonghwalseong and find the way to contribute to it on landscape architectural level. As Wolseong(月城) and Myeonghwalseong(明活城) functioned as royal palace in Silla Dynasty, they need some research and study on fortress inside in detail rather than restoring them by simply maintaining the shapes. While Wolseong has overall excavation investigation going on, Myeonghwalseong representing mountain fortress area is losing its value due to unbefitting management to a title of world heritage. If conducting close research and study on these remains, it seems like it could contribute a lot to landscape architectural research of Silla royal palace through tracks, which will be used as royal palace. Here I suggest research direction on landscape architectural level about fortress remains in Gyeongju area as followings. Firstly, away from all research focusing on fortress shape, consecration way, etc, we need to conduct a research comprisable of inner space of fortress. As Wolseong and Myeonghwalseong functioned as royal palace in Silla Dynasty, it'll be possible to research about ponds, Nu-Jeong(樓亭), drainage facilities, oddly shaped stones, moundings, pavements, circulation systems, planting traces, etc. For this, we need to research and study through comparison with cases of China, Japan and Goguryeo of the same age. Secondly, applying garden archaeological way is possible to translate objectively regarding research of ancient garden with low literature record. But attainable achievement and information will be limited if implementing excavation based on archaeology as excavations so far regarding excavation investigation of Wolseong. The alternative to such problem is participation plan of landscaping field through the foundation of garden archaeology. We might be able to attain many results on landscape architectural level from research, if conducting research and study about Silla capital including Wolseong by applying garden archaeology such as collection of environmental sample and discovery and analysis of remains through aerial photograph, archaeological research, analysis of historical building, surface exploration, excavation technique, analysis of soil and flowerpot, etc. For this, many people majored in landscape architecture need to try and acquire archaeological knowledge. Also, we need to call attention to internal garden archaeology through international academic symposium by inviting global experts in garden archaeology field. I've suggested the study of location of Wolseong and Silla fortress in Gyeongju area, plan research on using and treating trees about the space in and out of fortress and landscape architectural research direction of Wolseong fortress.

• Korean Journal of Ichthyology
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• v.6 no.2
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• pp.132-159
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• 1994

The taxonomic revision of the family Congridae was made based on the specimens collected from the south-western coasts of the Korea from June 1988 to Oct. 1993. The family Congridae was classified into 8 species belonging to 6 genera. based on the external and internal morphological characters : Anago anago, Ariosoma anagodies, Ariosoma shiroanago shiroanago, Conger myriaster, Conger japonicus, Gnathophis nystromi nystromi, Rhechias retrotincta and Uroconger lepturus. Among the species reported as the congrid eels from Korea until now, four species were transferred into different generic or specific name Conger flavirostris into Ariosoma anagoides ; Astroconger myriaster into Conger myriaster ; Congrina retrotincta into Rhechias retrotincta and Rhynchocymba nystromi into Gnathophis nystromi nystromi. A Korean congrid eel, Ariosoma shiroanago shiroanago, was reported for first time in Korea. Intergeneric characters of the family Congridae were the form of the lateralline scales, the state of the tip of tail, the segmented state of the dorsal and anal fin rays, the existance of the supraoccipital bone and of lateral ethmoid process of the skull, the origin of dorsal fin and the forms of upper labial flange. The interspecific classification was made according to the characters such as the numbers of sensory pores of head part and in front of vent, teeth rows and numbers of upper and lower jaw, the numbers of vertebrae, the body color, the shapes of the head part, the color of intestine, the size of eye, the structure of air bladder and the number of branchiostegal rays. A new key on the taxonomical characteristics to the genera and species of the family Congridae has been estabilished and their distribution in Korea is described.

• Microbiology and Biotechnology Letters
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• v.48 no.2
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• pp.205-214
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• 2020

Cyanobacteria are microorganisms which have important roles in the nitrogen cycle due to their ability to fix nitrogen in water and soil ecosystems. They also produce valuable materials that may be used in various industries. However, some species of cyanobacteria may limit the use of water resources by causing harmful algal blooms in water ecosystems. Many culture collection depositories provide cyanobacterial strains for research, but their systematic preservation is not well-developed in Korea. In this study, we developed a method for the cryopreservation of the cyanobacteria Trichormus variabilis (syn. Anabaena variabilis), using alginate microcapsules. Two approaches were used for the experiments and their outputs were compared. One of the methods involved the cryopreservation of cells using only a cryoprotectant and the other used the cryoprotectant within microcapsules. After cryopreservation for 35 days, cells preserved with both methods were successfully regenerated from the initial 1.0 × 10⁵ cells/ml to a final concentration of 6.7 × 10⁶ cells/ml and 1.1 × 10⁷ cells/ml. Irregular T. variabilis shapes were found after 14 days of regeneration. T. variabilis internal structures were observed by transmission electron microscopy (TEM), revealing that lipid droplets were reduced after cryopreservation. The expression of the mreB gene, known to be related to cell morphology, was downregulated (54.7%) after cryopreservation. Cryopreservation using cryoprotectant alone or with microcapsules is expected to be applicable to other filamentous cyanobacteria in the future.

• Economic and Environmental Geology
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• v.54 no.2
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• pp.233-245
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• 2021

Many studies on the microstructures in rocks have been conducted using experimental methods with various equipment as well as natural rock studies to see the development of microstructures and understand their mechanisms. Grain boundary migration of mineral aggregates in rocks could cause grain growth or grain size changes during metamorphism or deformation as one of the main recrystallization mechanisms. This study suggests improved ways regarding the analog material experiments with reformed equipment to see sequential observations of these grain boundary migration. It can be more efficient than the existing techniques and carry out an appropriate microstructure analysis. This reformed equipment was implemented to enable optical manipulation by mounting polarizing plates capable of rotating operation on a stereoscopic microscope and a deformation rig capable of experimenting with analog materials. The equipment can automatically control the temperature and strain rate of the deformation rig by microcontrollers and programming and can take digital photomicrographs with constant time intervals during the experiment to observe any microstructure changes. The composite images synthesized using images by rotated polarizing plates enable us to see more accurate grain boundaries. As a rock analog material, norcamphor(C7H10O) was used, which has similar birefringence to quartz. Static grain growth and simple shear deformation experiments were performed using the norcamphor to verify the effectiveness of the equipment. The static grain growth experiments showed the characteristics of typical grain growth behavior. The number of grains decreases and the average grain size increases over time. These case experiments also showed a clear difference between the growth curves with three temperature conditions. The result of the simple shear deformation experiment under the medium temperature-low strain rate showed no significant change in the average grain size but presented the increased elongation of grain shapes in the direction of about 53° regarding the direction perpendicular to the shearing direction as the shear strain increases over time. These microstructures are interpreted as both the plastic deformation and the internal recovery process in grains are balanced by the deformation under the given experimental conditions. These experiments using the reformed equipment represent the ability to sequentially observe changing the microstructure during experiments as desired in the tests with the analog material during the entire process.

• Asia Marketing Journal
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• v.12 no.2
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• pp.53-81
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• 2010

Brand experience has received much attention from considerable marketing research. When consumers consume and use brands, they are exposed to various specific brand-related stimuli. These brand-related stimuli include brand identity and brand communications(e.g., colors, shapes, designs, slogans, mascots, brand characters) components. Brakus, Schmitt, and Zarantonello(2009) conceptualized brand experience as subjective and internal consumer responses evoked by brand-related stimuli. They demonstrated that brand experience can be broken down into four dimensions(sensory, affective, intellectual, and behavioral). Because experiences result from stimulations and lead to pleasurable outcomes, we expect consumers to want to repeat theses experiences. That is, brand experiences, stored in consumer memory, should affect brand loyalty. Consumers with positive experiences should be more likely to buy a brand again and less likely to buy an alternative brand(Fournier 1998; Oliver 1997). Brand attachment, one of dimensions of the consumer-brand relationship, is defined as an emotional bond to the specific brand(Thomson, MacInnis, and Park 2005). Brand attachment is target-specific bond between the consumer and the specific brand. Thus, strong attachment is attended by a rich set of schema that link the brand to the consumer. Previous researches propose that brand attachments should affect consumers' commitment to the brand. Brand experience differs from affective construct such as brand attachment. Brand attachment is based on interaction between a consumer and the brand. In contrast, brand experience occurs whenever there is a direct and indirect interaction with the brand. Furthermore, brand experience is not an emotional relationship concept. Brakus et al.(2009) suggest that brand experience may result in brand attachment. This study aims to distinguish brand experience dimensions and investigate the effects of brand experience on brand attachment and brand commitment. We test research problems with data from 265 customers having brand experiences in various product categories by using multiple regression and structural equation model. The empirical results can be summarized as follows. First, the paths from affective, behavior, and intellectual experience to the brand attachment were found to be positively significant whereas the effect of sensory experience to brand attachment was not supported. In the consumer literature, sensory experiences for consumers are often equated with aesthetic pleasure. Over time, these pleasure experiences can affect consumer satisfaction. However, sensory pleasures are not linked to attachment such as consumers' strong emotional bond(i.e., hot affect). These empirical results confirms the results of previous studies. Second, brand attachment including passion and connection influences brand commitment positively but affection does not influence brand commitment. In marketing context, consumers with brand attachment have intention to have a willingness to stay with the relationship. The results also imply that consumers' emotional attachment is characterized by a set of brand experience dimensions and consumers who are emotionally attached to the brand are committed. The findings of this research contribute to develop differences between brand experience and brand attachment and to provide practical implications on the brand experience management. Recently, many brand managers have focused on short-term view. According to this study, we suggest that effective brand experience management requires taking a long-term view of marketing decisions.

• 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.