• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.147-155
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• 2006

Recently, because of the rapid remarkable development of the digital media, contemporary society is continuously extending and changing over the limitation of the human recognition. But in the field of architectural form creation, a diagram used in the design process of the past is not enough to reflect a complication, contingent and multiple quality of these contemporary society. So, to reveal the rhizomorphous and non-hierarchial qualify of the contemporary digital network society, architecture became necessary to use the diagram with digital media which have various possibilities to present architect's abstract images that the diagram of the past couldn't do. Therefore, this study proposes that the process for creating architectural form with the digital diagram be a alternative to conquest the limits of contemporary architecture, so it present the complicate and contingent quality of contemporary society. Furthermore, it examines the quality and possibility of the diagram by understanding the creation and transformation of the digital diagram, and how to apply to the actual architecture process of the creating form.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.201-210
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• 2006

Among the architects who use diagrams as a digital design process, especially through Peter Eisenman and Ben van Berkel's works, we have specifically got the meaning of their diagrams. Their diagrams act as 'the block of becoming' and we can regard the diagrams not only as a tool of devenir including architect's root thoughts beyond a tool of schematic presentation, but also as architect's intention including devenir thought. And in the case of diagrams which the architects use, we can recognize that architects' intentions are to think that Deleuze's 'machine abstraite' evolve the diagram into various and transformed form. That is to say, Peter Eisenman interprets the machine abstraite as a root thought of devenir by using diagram as medium to reveal the virtual. And Ben van Berkel transforms the diagram by including all external conditions into selected diagram which shows the abstract relations to the elements. We can get the meaning of the machine abstraite from these cases well. This study will play an important role in giving good usage of the diagram in making a form of contemporary digital architecture and showing the direction of form creation field.

• Architectural research
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• v.2 no.1
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• pp.7-15
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• 2000

A bubble diagram is understood as a graphic medium which bridges program and plan in architectural design process. The role of a bubble diagram is either to generate or to explain a plan in relation to its program. Despite the explicit role of a bubble diagram in architectural design process, what a bubble diagram indicates exactly is very ambiguous. Here I attempt to reveal the nature of the bubble diagram more sharply. My main argument is that the ambiguity of a bubble diagram results from the fact that it is used to range two different types of representational formats. Reviewing the theories of shape recognition and shape representations in vision science, I will also argue that the procedural description of architectural design process should be criticized and that the focus of design method research has to be shifted into the representational format of form description in architectural design process.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.99-112
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• 2006

In contemporary design conditions, the focus of landscape architecture has shifted from 'form' to 'process.' Various experimental diagrams have been proposed to overcome the limitations of conventional form-oriented landscape design. This study aims to reconsider theoretically and critically the modes and mechanism of diagrams in recent landscape architectural design. It also explores the operational capabilities of diagram in design process. Although the traditional diagram has served as explanatory and representational graphics in design, contemporary designers emphasize the generative function of diagram on the basis of Gilles Deleuze's theory of 'diagram as abstract machine.' They manifest and practise that diagrams call generate forms and proliferate spaces in their design development. This paper examines current examples of generative and constructive diagrams produced by leading designers. However, the author illuminates another significance of diagram: the diagram as strategic media of design. Contemporary environments and conditions of design, such as the complexity of city and the interactivity of new economy, call for new design intelligence and strategic design. These situations require alternative media in design process. In this context, the diagram can function as strategic media of dynamic and flexible design. This is why contemporary landscape theory and practice have to give attention to diagrams.

• Korean Journal of Computational Design and Engineering
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• v.14 no.5
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• pp.306-313
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• 2009

This paper presents the unique formation process of a volumetric space with the digital algorithm developed for Voronoi diagram in order to generate an effective parametric architectural form. By applying systematic parameters of architectural conditions within digital parametric tools, the interactions among sub-spaces developed by Voronoi diagram are enhanced by manipulating the spatial structures. In this paper, we discuss how the parametric distributing and zoning geometrical system can support designers in developing a free-formed space, and research on how this system creates a 3D volumetric space. With the in-depth research on the system and structure of Voronoi diagram, the approaches to the application of Voronoi diagram into architectural form generation are clarified to be an effective, creative and successful digital tool. The result of the application of the Voronoi diagram improves the design quality with systematic language in the sense that the sub-regions are created and controlled under the systematic and balanced hierarchy having dynamic relationships among each others with the restoration of the equilibrium of forces and tensions. This 3-dimensional Voronoi diagram provides another means for designers to solve architectural issues and to reinforce their design concepts.

• The Journal of Korean Medical History
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• v.30 no.2
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• pp.101-118
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• 2017

Purpose : This paper explores the extent to which ZangFu diagrams made after Northern Song Dynasty were influenced by ZangFu diagrams made before Northern Song Dynasty, and how diagrams of the whole body and heart originated from MingTangZangFuTu and affected each other when quoted in books published after Northern Song Dynasty. Method : The author used four form factors including heart shape, internal curved lines, cylinder-like structures above heart, and wuzangxi (五臟系) which resembles a lotus flower which has not yet bloomed, to analyze and compare different ZangFu diagrams before and after the Northern Song Dynasty. Results : Two form factors, the shape of heart and wuzangxi, are described in ZangFu diagrams before Northern Song, and may have influenced ZangFu diagrams after Northern Song. However, the other two form factors (internal curved lines and cylinder-like structures above the heart) did not influence ZangFu diagrams after Northern Song. All form factors of heart found in WuCangLiuFuZhiTu (within the whole body) and diagram of heart in ZhenJiuJuYing (鍼灸聚英) were most similar, but the two paintings became less similar as they were cited in several books. With the exception of the form factor with structures above heart, the three other form factors are almost identical between two paintings produced after Northern Song dynasty, as displayed in the same book. Conclusion : ZangFu diagrams of the heart produced after Northern Song Dynasty, were not completely based on ZangFu diagrams made before Northern Song Dynasty. Diagrams of whole body and those of the heart were changed, while influencing each other after Northern Song.

• Advances in concrete construction
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• v.10 no.6
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• pp.509-514
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• 2020

In the preliminary design phase of explosion-proof structures, the use of P-I diagram is useful. Based on the fact that the deformation criteria at failure or heavy damage is significantly larger than the yield deformation, a closed form solution of normalized P-I diagram is proposed using the complete plastic resistance curve. When actual sizes and material properties of RC structural component are considered, the complete plasticity assumption shows only a maximum error of 6% in terms of strain energy, and a maximum difference of 9% of the amount of explosives in CWSD. Thru comparison with four field test results, the same damage pattern was predicted in all four specimens.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.157-175
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• 2005

Guarino Guarini(1624-1683) is one of great Baroque architects who developed new spatial concept in architecture. He refused to static space typically appeared in Renaissance architecture. Instead, to make it possible to generate complicate form and moving space, he made use of generative diagram. It provide him with an abstract machine to generate automatically architectural inferiority. His generative diagram consists of three types: single circle diagram, matrix diagram and longitudinal diagram. The first diagram uses single circle as primary generator and develop this by means of overlap and equiangular division. La Cappella della Santissima Sindone, Sanctuary of Chiesa di Oropa, Chiesa dei Padri Somaschi, San Gaetano are designed according to this diagram. The generator of the second diagram is nine circles in $3{\times}3$ matrix, which provide the base for the interpenetration of space in Guarini's architecture. He inspired this diagram from Kepler's $\ulcorner$Harmonices mundi$\lrcorner$. The Churches of San Lorenzo, Ste-Anne-la-Royale, San Filippo Neri, San Gaetano are generated by this diagram. The third diagram has several circles in Lantin-cross plan. Guarini adopted this diagram because he had chances to design several churches in Northern Europe. The churches of Santa Maria di Ettinga, Immacolata Concezione, San Maria della Divina Providenza, Church without Name, San Filippo Neri are representative examples for this diagram.

• Journal of the Korean Society of Safety
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• v.20 no.4 s.72
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• pp.20-28
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• 2005

In this paper, the methodology for the reliability estimation of buried pipeline with longitudinal gouges and dent is presented and the limit state of buried pipeline is formulated by failure assessment diagram(FAD). The reliability of buried pipeline with defects has been estimated by using a theory of failure probability. The failure probability is calculated by using the FORM(first order reliability method) and Monte Carlo simulation. The results out of two procedures have been compared each other. It is found that the FORM and Monte Carlo simulation give similar results for varying boundary conditions and various random variables. Furthermore, it is also recognized that the failure probability increases with increasing of dent depth, gouge depth, gouge length, operating pressure, pipe outside radius and decreasing the wall thickness. And it is found that the analysis by using the failure assessment diagram gives highly conservative results than those by using the theory of failure probability.

• Proceedings of the IEEK Conference
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• 2003.11a
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• pp.301-304
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• 2003

This raper propose a matching algorithm using voronoi diagram for rotation and translation invariant fingerprint identification. The proposed algorithm extracts geometrical structures that ate derived from voronoi diagram of a fingerprint image. Then distances and angles are extracted from the geometrical structure and saved indexing form for fingerprint matching. Experimental results show that the proposed algorithm invariant to fingerprint rotation and translation requirements and matching time.