• Journal of the Korean Institute of Landscape Architecture
• /
• v.38 no.5
• /
• pp.1-11
• /
• 2010

The outdoor space of an elementary school is the most familiar and most educational area for children. A paradigm shift in education has demanded a new role and direction for these outdoor spaces. The construction of children-friendly spaces, however, lags behind. The child-participatory design process is very meaningful at a time when many outdoor spaces have difficulties in reflecting the varied and specific demands of children. This study realized the necessity for a design that includes a child-participatory design process in construction the outdoor spaces of elementary schools. Through reference study and a theoretical approach of related laws, this study established a child-participatory design process model and applied it to Seoul Don-Am Elementary School. The design process included playing games and providing interesting tools to increase the participation of children in suggesting and presenting their opinions more freely. The design process of this study is described in five steps(eliciting interest in and recognition of the target space, Understanding children's expectations and the expressing thereof, Establishing factors for planning, Visualizing and arranging spaces, and Decision-making and building a final design plan). This process was applied to the planning and design of an outdoor space for Seoul Don-Am Elementary School. In this study, it is clear that the design of the participators and experts have a different purpose. Thus, the process of the design has more meaning than the final product. In addition, it is expected that an improvement in both tangible and intangible designs will be seen. Using a participatory design process, this study successfully improved the facilities and arrangement planning of an outdoor space. At the same time, it also enhanced the interest and participation of children in the process of creating the kind of school they desire. The significance of this study is that it has suggested an effective model to reflect the demands of children, the true users of the outdoor space, and the results were actually applied to elementary school outdoor planning and designing. This study enhanced the awareness of school members in the process of building the school's outdoor space.

• Journal of Intelligence and Information Systems
• /
• v.21 no.1
• /
• pp.83-98
• /
• 2015

Many TV viewers use mainly portal sites in order to retrieve information related to broadcast while watching TV. However retrieving information that people wanted needs a lot of time to retrieve the information because current internet presents too much information which is not required. Consequentially, this process can't satisfy users who want to consume information immediately. Interactive video is being actively investigated to solve this problem. An interactive video provides clickable objects, areas or hotspots to interact with users. When users click object on the interactive video, they can see additional information, related to video, instantly. The following shows the three basic procedures to make an interactive video using interactive video authoring tool: (1) Create an augmented object; (2) Set an object's area and time to be displayed on the video; (3) Set an interactive action which is related to pages or hyperlink; However users who use existing authoring tools such as Popcorn Maker and Zentrick spend a lot of time in step (2). If users use wireWAX then they can save sufficient time to set object's location and time to be displayed because wireWAX uses vision based annotation method. But they need to wait for time to detect and track object. Therefore, it is required to reduce the process time in step (2) using benefits of manual annotation method and vision-based annotation method effectively. This paper proposes a novel annotation method allows annotator to easily annotate based on face area. For proposing new annotation method, this paper presents two steps: pre-processing step and annotation step. The pre-processing is necessary because system detects shots for users who want to find contents of video easily. Pre-processing step is as follow: 1) Extract shots using color histogram based shot boundary detection method from frames of video; 2) Make shot clusters using similarities of shots and aligns as shot sequences; and 3) Detect and track faces from all shots of shot sequence metadata and save into the shot sequence metadata with each shot. After pre-processing, user can annotates object as follow: 1) Annotator selects a shot sequence, and then selects keyframe of shot in the shot sequence; 2) Annotator annotates objects on the relative position of the actor's face on the selected keyframe. Then same objects will be annotated automatically until the end of shot sequence which has detected face area; and 3) User assigns additional information to the annotated object. In addition, this paper designs the feedback model in order to compensate the defects which are wrong aligned shots, wrong detected faces problem and inaccurate location problem might occur after object annotation. Furthermore, users can use interpolation method to interpolate position of objects which is deleted by feedback. After feedback user can save annotated object data to the interactive object metadata. Finally, this paper shows interactive video authoring system implemented for verifying performance of proposed annotation method which uses presented models. In the experiment presents analysis of object annotation time, and user evaluation. First, result of object annotation average time shows our proposed tool is 2 times faster than existing authoring tools for object annotation. Sometimes, annotation time of proposed tool took longer than existing authoring tools, because wrong shots are detected in the pre-processing. The usefulness and convenience of the system were measured through the user evaluation which was aimed at users who have experienced in interactive video authoring system. Recruited 19 experts evaluates of 11 questions which is out of CSUQ(Computer System Usability Questionnaire). CSUQ is designed by IBM for evaluating system. Through the user evaluation, showed that proposed tool is useful for authoring interactive video than about 10% of the other interactive video authoring systems.

• Horticultural Science & Technology
• /
• v.33 no.5
• /
• pp.647-657
• /
• 2015

To investigate a method for calculation of the heating load for environmental designs of horticultural facilities, measurements of total heating load, infiltration rate, and floor heat flux in a large-scale plastic greenhouse were analyzed comparatively with the calculation results. Effects of ground heat exchange and infiltration loss on the greenhouse heating load were examined. The ranges of the indoor and outdoor temperatures were $13.3{\pm}1.2^{\circ}C$ and $-9.4{\sim}+7.2^{\circ}C$ respectively during the experimental period. It was confirmed that the outdoor temperatures were valid in the range of the design temperatures for the greenhouse heating design in Korea. Average infiltration rate of the experimental greenhouse measured by a gas tracer method was $0.245h^{-1}$. Applying a constant ventilation heat transfer coefficient to the covering area of the greenhouse was found to have a methodological problem in the case of various sizes of greenhouses. Thus, it was considered that the method of using the volume and the infiltration rate of greenhouses was reasonable for the infiltration loss. Floor heat flux measured in the center of the greenhouse tended to increase toward negative slightly according to the differences between indoor and outdoor temperature. By contrast, floor heat flux measured at the side of the greenhouse tended to increase greatly into plus according to the temperature differences. Based on the measured results, a new calculation method for ground heat exchange was developed by adopting the concept of heat loss through the perimeter of greenhouses. The developed method coincided closely with the experimental result. Average transmission heat loss was shown to be directly proportional to the differences between indoor and outdoor temperature, but the average overall heat transfer coefficient tended to decrease. Thus, in calculating the transmission heat loss, the overall heat transfer coefficient must be selected based on design conditions. The overall heat transfer coefficient of the experimental greenhouse averaged $2.73W{\cdot}m^{-2}{\cdot}C^{-1}$, which represents a 60% heat savings rate compared with plastic greenhouses with a single covering. The total heating load included, transmission heat loss of 84.7~95.4%, infiltration loss of 4.4~9.5%, and ground heat exchange of -0.2~+6.3%. The transmission heat loss accounted for larger proportions in groups with low differences between indoor and outdoor temperature, whereas infiltration heat loss played the larger role in groups with high temperature differences. Ground heat exchange could either heighten or lessen the heating load, depending on the difference between indoor and outdoor temperature. Therefore, the selection of a reference temperature difference is important. Since infiltration loss takes on greater importance than ground heat exchange, measures for lessening the infiltration loss are required to conserve energy.

• Journal of the Korean Applied Science and Technology
• /
• v.34 no.4
• /
• pp.962-973
• /
• 2017

Concerns about an air pollution are gradually increasing at home and abroad. The automotive and fuel researchers are trying to reduce emissions and greenhouse gases of vehicles through a research on new engine designs and innovative after-treatment systems using clean fuels (eco-alternative fuel) and fuel quality improvements. In this paper, we stduy the emission characteristics of greenhouse gases on seven vehicles using gasoline, diesel, and LPG by legal test mode in domestic and abroad.(Urban mode, Highway mode, rapidly acceleration and deceleration, using air conditioner, low temperature condition) Regardless of fuels, most of the greenhouse gases tend to show the worst results in cold FTP-75 mode. In the case of A vehicles (2.0 MPI) and B vehicles (2.4 GDI) using a gasoline fuel, the factors that increase greenhouse gases are in order of a rapidly acceleration and deceleration, using air conditioner, low temperature condition. But G vehicles(LPLi) have different emission characteristics from another vehicles. In the case of A vehicles (2.0 w/o DPF) and B vehicles (2.2 with DPF) using a diesel fuel, the factors that increase greenhouse gases are in order of a rapidly acceleration and deceleration, using air conditioner, low temperature condition. However, the factor of F vehicles are in order of low temperature condition, using air conditioner, rapidly acceleration and deceleration. In conclusion, it will be an effective method to apply different technologies of emission reduction for each fuel.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.4
• /
• pp.49-57
• /
• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• The Journal of Engineering Geology
• /
• v.31 no.4
• /
• pp.603-620
• /
• 2021

A land nodal seismic system was employed to acquire seismic reflection data using stand-alone cable-free receivers in a land-river area. Acquiring reliable data using this technology is very cost effective, as it avoids topographic problems in the deployment and collection of receivers. The land nodal airgun system deployed on the mouth of the Hyungsan River (in Pohang, Gyeongsangbuk Province) used airgun sources in the river and receivers on the riverbank, with subparallel source and receiver lines, approximately 120 m-spaced. Seismic data collected on the riverbank are characterized by a low signal-to-noise (S/N) and inconsistent reflection events. Most of the events are represented by hyperbola in the field records, including direct waves, guided waves, air waves, and Scholte surface waves, in contrast to the straight lines in the data collected conventionally where source and receiver lines are coincident. The processing strategy included enhancing the signal behind the low-frequency large-amplitude noise with a cascaded application of bandpass and f-k filters for the attenuation of air waves. Static time delays caused by the cross-offset distance between sources and receivers are corrected, with a focus on mapping the shallow reflections obscured by guided wave and air wave noise. A new time-distance equation and curve for direct and air waves are suggested for the correction of the static time delay caused by the cross-offset between source and receiver. Investigation of the minimum cross-offset gathers shows well-aligned shallow reflections around 200 ms after time-shift correction. This time-delay static correction based on the direct wave is found essential to improving the data from parallel source and receiver lines. Data acquisition and processing strategies developed in this study for land nodal airgun seismic systems will be readily applicable to seismic data from land-sea areas when high-resolution signal data becomes available in the future for investigation of shallow gas reservoirs, faults, and engineering designs for the development of coastal areas.

• Journal of The Korean Association For Science Education
• /
• v.43 no.6
• /
• pp.495-507
• /
• 2023

Teachers often encounter challenges in supporting students with question generation and the development of investigation plans in sensemaking activities. A primary challenge stems from the ambiguity surrounding how students apply their conceptual understandings in this process. This study aims to explore how students apply their conceptual understandings to generate questions and design investigation processes in a sensemaking activity. Two types of student group activities were identified and examined for comparison: One focused on designing a process to achieve the goal of sensemaking, and the other focused on following the step-by-step scientific inquiry procedures. The design of investigation process in each group was concretized with epistemic criteria used for evaluating the designs. The students' use of conceptual understandings in discussions around each was then examined. The findings reveal three epistemic criteria employed in generating questions and designing investigation processes. First, the students examined the interestingness of natural phenomena, using their conceptual understandings of the structure and function of entities within natural phenomena to identify a target phenomenon. This process involved verifying their existing knowledge to determine the need for new understanding. The second criterion was the feasibility of investigating specific variables with the given resources. Here, the students relied on their conceptual understandings of the structure and function of entities corresponding to each variable to assess whether each variable could be investigated. The third epistemic criterion involved examining whether the factors of target phenomena expressed in everyday terms could be translated into observable variables capable of explaining the phenomena. Conceptual understandings related to the function of entities were used to translate everyday expressions into observable variables and vice versa. The students' conceptual understanding of a comprehensive mechanism was used to connect the elements of the phenomenon and use the elements as potential factors to explain the target phenomenon. In the case where the students focused on carrying out step-by-step procedures, data collection feasibility was the sole epistemic criterion guiding the design. This study contributes to elucidating how the process of a sensemaking activity can be developed in the science classroom and developing conceptual supports for designing sensemaking activities that align with students' perspectives.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of the East Asian Society of Dietary Life
• /
• v.21 no.6
• /
• pp.934-947
• /
• 2011

The purpose of this study is to analyze products for good taste and convenience, which become an engine to constantly create customers. In addition, this study is aimed at investigating the relationship between the selective attributes of Home Meal Replacement, the perceived utilitarian value, and the repurchase intention, and drawing new suggestions on the Home Meal Replacement market from a new marketing perspective. Based on a total of 215 samples, this study reviewed the reliability and fitness of the research model and verified a total of 5 hypothesized using the Amos program. The result of study modeling was GFI=0.905, AGFI=0.849, NFI=0.889, CFI=0.945, and RMR=0.0.092 at the level of $x^2$=230.22 (df=126, p<0.001). First, the food quality (${\beta}$=0.221), convenience (${\beta}$=0.334), packing (${\beta}$=0.278), and employee service (${\beta}$=0.204) of home meal replacement consideration attributes had a positive (+) influence on perceived utilitarian value. Second, perceived utilitarian value (${\beta}$=0.584) had a positive (+) influence on repurchase intention. The factors to differentiate one company from other competitors in terms of the utilitarian value are the quality of food, convenience, wrapping, and services by employees. This study has illustrated the need to focus on the development of a premium menu to compete with other companies and to continue to research and develop nutritious foods that are easy to cook. Moreover, the key factors to have a distinct and constant competitive edge over other companies are the alleviation of consumer anxiety over wrapping container materials, the development of more designs, and the accumulation of service know-how. Therefore, it is necessary for a company to strongly develop the key factors based on its resources as a core capability.