• Archives of design research
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• v.17 no.1
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• pp.211-220
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• 2004

The Chaos theory of complexity and Fractal theory which became a prominent figure as a new paradigm of natural science should be understood not as whole, and not into separate elements of nature. Fractal Dimensions are used to measure the complexity of objects. We now have ways of measuring things that were traditionally meaningless or impossible to measure. They are capable of describing many irregularly shaped objects including man and nature. It is compatible method of application to express complexity of nature in the dimension of non-fixed number by placing our point of view to lean toward non-linear, diverse, endless time, and complexity when we look at our world. Fractal Dimension allows us to measure the complexity of an object. Having a wide application of fractal geometry and Chaos theory to the art field is the territory of imagination where art and science encounter each other and yet there has not been much research in this area. The formative word has been extracted in this study by analyzing objective data to grasp formative principle and geometric characteristic of (this)distinct figures of Fractals. With this form of research, it is not so much about fractal in mathematics, but the concept of self-similarity and recursiveness, randomness, devices expressed from unspeakable space, and the formative similarity to graphic design are focused in this study. The fractal figures have characteristics in which the structure doesn't change the nature of things of the figure even in the process if repeated infinitely many times, the limit of the process produces is fractal. Almost all fractals are at least partially self-similar. This means that a part of the fractal is identical to the entire fractal itself even if there is an enlargement to infinitesimal. This means any part has all the information to recompose as whole. Based on this scene, the research is intended to examine possibility of analysis of fractals in geometric characteristics in plasticity toward forms in graphic design. As a result, a beautiful proportion appears in graphic design with calculation of mathematic. It should be an appropriate equation to express nature since the fractal dimension allows us to measure the complexity of an object and the Fractla geometry should pick out high addition in value of peculiarity and characteristics in the complex of art and science. At the stage where the necessity of accepting this demand and adapting ourselves to the change is gathering strength is very significant in this research.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Publications of The Korean Astronomical Society
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• v.28 no.2
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• pp.25-36
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• 2013

Chumsungdae is an ancient astronomical observatory whose main role was doing 'chunmoon'. It was administrate by a royal advisory agency on state affairs. The observers observed the heaven on the observatory platform, recorded peculiar events, and watched and interpreted the signs displayed in the heaven. Chumsungdae is an stonemasonry which represents almanac principles with its peculiar shapes and the numbers of strata and stones. The numbers were thoroughly invented to match exactly the almanac constants. Chumsungdae is comprised largely of three main parts, namely the square base, the stratified cylindrical body, and the top #-shaped stonework, and the total number of stones is 404. The number of the strata (27) and the height of the cylindrical body (27 尺) stand for the days in a sidereal month (27.3 days), which implies that the motion of the Moon with respect to the stars was given more priority than to the Sun at that time of geocentricism. And the cylindrical body was thoroughly designed to consist of 365 stones, which is of course the number of days in a solar year. In addition, there are 12 strata each under and above the south entrance and this in sum makes the 24 divisions of the year. Also there is 182 stones below the 13th stratum and this represents the number of days in the winter ~ summer solstice period, and the rest 183 stones the vice versa. The #-shaped top stonework was aligned in such a way that one of the diagonals points the direction of sunrise on the winter solstice. The square base also layed with the same manner. The south entrance was built 16 degrees SE, and the upright direction of the right pillar stone coincides with the meridian circle. This was a kind of built-in standard meridian circle facilitating the observations. In a symbolic sense, Chumsungdae was thought as the tunnel reaching the heaven, where the observers wished to be enlightened with the signs and inspirations in need. With the craftsmanship and skill, the builder reinforced the stratified cylindrical body with two sets of #-shaped beam stones, piercing at a right angle at 19th ~ 20th and 25th ~ 26th strata. Likewise, by placing the double #-shaped stonework with 8 beam stones on the platform of the observatory, both the stability of the stonemasonry and a guard rail for the nightly observers were securely provided.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• School Mathematics
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• v.9 no.2
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• pp.197-222
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• 2007

The study aims to reflect the elementary school geometry education based on the Realistic Mathematics Education in the Netherlands in the light of the results from recent researches in geometry education and the direction of geometry standards for school mathematics of the National Council of Teachers of Mathematics in order to induce implications for improving korean geometry curriculum and textbook series. In order to attain these purposes, the present paper reflects the history of elementary school geometry education in the Netherlands, sketches the elementary school geometry education based on the Realistic Mathematics Education in the Netherlands by reflecting general goals of the mathematics education, the core goals for geometry strand of the Netherlands, and geometry and spatial orientation strand of Dutch Pluspunt textbook series for the elementary school more concretely. Under these reflections on the documents, it is analyzed what is the characteristics of geometry strand in the Netherlands as follows: emphasis on realistic spatial phenomenon, intuitive and informal approach, progressive approach from intuitive activity to spatial reasoning, intertwinement of mathematics strands and other disciplines, emphasis on interaction of the students, cyclical repetition of experiencing phase, explaining phases, and connecting phase. Finally, discussing points for improving our elementary school geometry curriculum and textbook series development are described as follows: introducing spatial orientation and emphasizing spatial visualization and spatial reasoning with respect to the instruction contents, considering balancing between approach stressing on grasping space and approach stressing on logical structure of geometry, intuitive approach, and integrating mathematics strands and other disciplines with respect to the instruction method.

• Journal of The Korean Society of Agricultural Engineers
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• v.49 no.5
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• pp.11-20
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• 2007

In this study, we reviewed the optimal space for the fishway and fish storage establishment in the section between the downstream of the Hwacheon dam and the confluence of the Pungsan river. The hydraulic stability of these facilities was also examined. In the section between the downstream of Hwacheon dam and the confluence of Pungsan river, the release flow of Hwacheon dam was set at $5,495m^3/s,\;6,110m^3/s$ and $7,537m^3/s$, and numerical simulations were executed for each instance using the HEC-RAS model and RMA-2. In the analysis of the flow velocity distributions in the subject section by release flows of Hwacheon dam, it was shown that there was over 5.0m/s of high flow velocity at Sta. $#1{\sim}Sta.$ #3, Sta. $#4{\sim}Sta.$ #6, and Sta. $#12{\sim}Sta.$ #13 of the sections analyzed in this study. The Sta. $#0{\sim}Sta.$ #1 was considered appropriate for the fishway and fish storage establishment. As seen in the results of the numerical stability review by release flow conditions of Hwacheon dam subject to the selected available areas fur fishway and fish storage, the topographically available section for the establishment of fishway and fish storage exists at Sta. $#1{\sim}Sta.$ #3 when the release flow of Hwacheon dam is $5,495m^3/s$, whereas Sta. $#0{\sim}Sta.$ #1 should be reviewed for the subject section for the establishment of fishway at release flows of $6,110m^3/s$ and $7,537m^3/s$, in addition to the figures gathered at the $5,495m^3/s$ release flow. Finally, the available section for the establishment of fishway and fish storage was determined to be Sta. $#0{\sim}Sta.$ #3. Further, if fishway and fish storage are established in the outer bank within this section, the high flow velocity section should be avoided. An alternative would be to establish for the fishway in the inner band on the section of Sta. #1 or Sta. #3.

• Education of Primary School Mathematics
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• v.16 no.1
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• pp.57-70
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• 2013

This study is aimed to compare the area of geometry of elementary mathematics textbooks in korea and china. Through this study, we would like to suggest some guidelines in order to develop geometric curriculum and textbooks in korea and to search for more efficient methods of learning mathematics. For this, we have looked through the general characteristics of geometry domain in mathematics curriculums and the textbooks in korea and china. Furthermore, we have found the similarities and differences while comparing specific contents in the two countries. The followings are the conclusions of this study. First, The mathematics curriculum in korea is divided into 'figure' domain, but the one in china is divided into 'space and figure' domain, which deals with figure and measurement. And china constructs the contents of the basic figure as a whole unit. Second, korea gives clear learning aims about contents whereas china gives learning activities. Lastly, when starting teaching a plain figure, korea focuses on checking and finding definitions and characters through fundamental figures. However, china focuses on figuring out components and the relations among them throughout various plain figure activities.

• Tunnel and Underground Space
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• v.23 no.4
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• pp.297-307
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• 2013

In this study, the thermal analysis is carried out for a result of borehole heater test using ABAQUS ver 6.10 based on finite element analysis code. Thermal-mechanical rock properties as determined by laboratory tests before the in situ test and characteristics of the atmosphere at the test section are used as the initial condition. When comparing the results of the in situ test and thermal analysis, the temperature of C3 observation hole that is 0.9 m away from the heater showed very similar patterns and figures (about $1.3^{\circ}C$ difference). But the results of the A and B observation hole showed a significant difference around $15^{\circ}C{\sim}20^{\circ}C$. To find the reason for these results, the over-coring is carried out for the A1 and B1 observation holes. As a result of checking the excavated rock core with the naked eye, there is no problem on the number and position of the sensor as the test plan. However the state of cement injection in the observation hole is poor.

• Tunnel and Underground Space
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• v.17 no.3 s.68
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• pp.165-174
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• 2007

The technique, which reproduces the figures of objects from measured data of the objects using 3-D laser scanner, is called reverse engineering. Recently, research studies into applications of reverse engineering to rock engineering are increasing in number, in the discontinuity surveys for rock slopes out of man's reach, or rapid discontinuity surveys for wide range areas. For analysis of discontinuity using reverse engineering, a program for processing point clouds data from the 3-D laser scanner, for sampling from these point clouds data, and finally analyzing the discontinuity is needed. However, existing programs rarely have sufficient functions to properly analyze the discontinuities. In this study, a program was developed, which can automatically sample discontinuities from the point clouds data which measured in a rock slope using a 3-D laser scanner, and which can also undertake statistical analysis of the discontinuities. This developed program was verified by the application of discontinuity surveys in a rock slope and a tunnel. By undertaking the discontinuity survey using a 3-D laser scanner and the developed program, the feasibility and rapidity of such surveys is expected to improve in areas out of man's reach in geotechnical surveys. Taking into consideration the fact that the international level of related techniques is at a rudimentary stage, the possibility of prior occupation of a broad market is also expected.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.249-280
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• 2019

This research aims at examining the present of fusion historical dramas through a TV soap opera, and discussing the narrative of this genre and external elements to be equipped. tried to break from conventionality of fusion historical dramas by intensifying it. By comprehensively suggesting the history of conflicts repeated in existing dramas, it helped its viewers to concentrate on it easily. In addition, by setting a separate space from the secret strife in a palace while depicting it, it expressed romance between a man and a woman faithfully. Moreover, two individual riddles were given so that the narrative became rich. Furthermore, the social problems of remaining singles and the tyranny of the establishment were dealt with. Novelty was presented with the viewpoint of seeing the past through today's perspective instead of seeing the present through the past; by trying to interpret modern culture in a way of Joseon, such as the figures reflecting the phases of the times and lines using newly-coined words and abbreviations. Therefore, the success of the drama contents lies not in breaking from customs but in thinking about what to change based on conventional characteristics. can be evaluated to be a work that can be an idealistic model of this genre.