• Journal of the Korean Geophysical Society
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• v.3 no.2
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• pp.99-112
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• 2000

The Iksan Jurassic Granite shows relatively less fractures and homogeneous rock fabrics, and is one of the most popular stone materials for architectures and sculptures. Almost mutually perpendicular rift, grain, and halfway in the Iksan Jurassic Granite are well known to quarrymen based on its splitting directions, and therefore it should exhibit orthorhombic symmetry. Theoretically, there are 9 independent elastic stiffness coefficients $(C_{1111},\;C_{2222},\;C_{3333},\;C_{2323},\;C_{1313},\;C_{1212},\;C_{1122},\;C_{2233},\;and\;C_{1133})$ for orthorhombic anisotropy. In order to characterize the static and dynamic elastic properties of the Iksan Jurassic Granite, triaxial strains under uniaxial compressive stresses and ultrasonic velocities of elastic waves in three different polarizations are measured. Both experiments are carried out with six directional core samples from massive rock body. Using the results of experiments and the densities measured independently, the static and dynamic elastic coefficients are computed by simple mathematical manipulation derived from the governing equations for general anisotropic media. The static elastic coefficients increase ar uniaxial compressive stress rises. Among those, the static elastic coefficients at uniaxial compressive stress of a 24.5 MPa appear to be similar to the dynamic elastic coefficients under ambient condition. Although some deviations are observed, the preferred orientations of microcracks appear to be parallel or subparallel to the rift, the grain, and the hardway from microscopic observation of thin sections. This indicates that the preferred orientations of microcracks cause the elastic anisotropy of the Iksan Jurassic Granite. The results are to be applied to the effective use of the Iksan Jurassic Granite as stone materials, and can be used for the non-destructive safety test.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.