• Journal of Power Electronics
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• v.17 no.5
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• pp.1160-1172
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• 2017

A novel space vector modulation strategy in the non-orthogonal three-dimensional coordinate system for multi-level three-phase four-wire inverters is proposed in this paper. This new non-orthogonal three-dimensional space vector modulation converts original trigonometric functions in the orthogonal three-dimensional space coordinate into simple algebraic operations, which greatly reduces the algorithm complexity of three-dimensional space vector modulation and preserves the independent control of the zero-sequence component. Experimental results have verified the correctness and effectiveness of the proposed three-dimensional space vector modulation in the new non-orthogonal three-dimensional coordinate system.

• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.2
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• pp.61-70
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• 2011

This study aims to establish the concept about a new approaching method dor remodeling in the planning step. also, this study sets up the way how to approach in a dimensional way by classifying the conceptual composition of the target housing as a method. The dimensional definition is as below. The one dimensional approach: the spot. the two dimensional approach: the line, the three dimensional approach: the apatial mass, the four dimensional approach: space + time, the n dimensional (multi-dimensional) approach: the space + time + emotion. The research findings are as follows : For the purpose of remodeling, the old housing should be viewed in the three dimensional shape and space. It is defined as multi-dimensional module method to design the shape and space of the target housing in a multi-dimensional point, considering the three dimensional space composition, the emotion of the user, the housing itself. and the time of the user.

• International Journal of High-Rise Buildings
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• v.13 no.1
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• pp.57-67
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• 2024

With the requirement of high quality and three-dimensional urban development, the public space areas city-center rail transit stations is expanded from the plots defined by the road network density to the plots defined by the three-dimensional public space density, covering the internal and external paths of the plots, which brings about the resilient pattern of plot utilization. This paper uses the isochronous three-dimensional influence realm model around the station areas to quantitatively analyze and compare the surrounding three-dimensional path density of public space, and initially proposes flexible use patterns of differently scaled plots under the multi-scale plots linkage, to effectively promote the overall accessibility of the station realm space.

• International Journal of High-Rise Buildings
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• v.10 no.1
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• pp.17-28
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• 2021

In Harbin, a network of underground commercial spaces has been developed to occupy spaces that were originally created as civil defense shelters. With the gradual extension of the local metro rail system, the existing underground commercial space is no longer an isolated regional development, but a space that represents "three-dimensional city" and coordinated development taking place in many Chinese cities. Based on the analysis of the unique development process taken in underground space of Harbin, this paper summarizes three characteristics of its early model of "fragmented development" of underground space. By conducting a comprehensive field research and survey, the researchers analyzed 472 questionnaires related to the development trend, and proposed multi-level synergistic elements for the renewal and development of underground commercial space. The paper concludes by discussing the trend of "three-dimensional and collaborative development," suitable for the development needs of the new era, and the corresponding development strategies for the renewal of underground space.

• Journal of Astronomy and Space Sciences
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• v.11 no.2
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• pp.273-280
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• 1994

A linear method for determining three-dimensional motion of a rigid object is presented. In this method, two three-dimensional line correspondences are used. By using three-dimensional information of the features and observing that the rotation is unique regardless of the translation vector, the two components of motion parameters (rotation and translation) are computed separately. Also in this paper, the solution is given without a scale factor which is necessary in other methods that use only the two-dimensional projective constraints.

• Proceedings of the KIEE Conference
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• 1991.11a
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• pp.67-70
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• 1991

When analyzing field or optimizing the shape of electrode in three dimensional space by using the surface charge method, we need to divide finely the surface of electrode into surface element like triangle or rectangle. In this case, there exist any variables in field analysis or field optimization. In particular, smoothness on the surface of optimized shape is not good. Recently, A paper is published where introducing NURB curve to field analysis and field optimization about two dimensional space model and axial symmetric three dimensional space model results in reduced variables, enhenced accuracy and improved smoothness. NURB curve has some useful properties like continuity, controllability and locality. Therefore in this paper, in order to improve the demerits of the established optimization method for three dimensional space models, the NURB surface that has same properties in common with NURB curve is used to analyze and optimize simple model.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.38-46
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• 2007

In the late 1970s, the method of quantitative and scientific space structural analysis based on graph theory was introduced to the process of space design, which arranges design and functional elements, as relying heavily on intuition could produce errors due to unverified experiences and prejudices of the designer. As the method of space analysis is complex and hard to express visually and requires repetitive operations, it was discussed theoretically only. However, with the development of computer performance and graphic in recent years, visualization became possible. But the method of visual structural analysis of space is at the level of two dimensions and it is not easy to get accurate data when it is applied to limited three dimensional space such as an interior space. For the visual structural analysis of space, this study presents 4 indices including visibility volume level, pure visibility connection frequency, effective visibility connection frequency, and path visibility connection frequency. This study also presents space division using three dimensional arrangement rather than the existing vector operation method and raytracing algorithm at the lattice constant. Based on this, an analysis tool for the visible regions of three dimensional space that is capable of evaluating at multiple points by using three dimensional game engine and presentation tool that allows the analyzer to interpret the data effectively is made. It is applied to 2 prototype models by displacing Z axis, and the results are compared with UCL Depthmap to verify the validity of data and evaluate its usefulness as a multidimensional, multi-view space analysis tool.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.93-104
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• 2020

This paper focuses on the spatial changes that create a three-dimensional or deep feeling on the surface of a scarf centering on the cube shape. Through this, consumers with various tastes were able to satisfy their image presentation. The cube form has simplicity and order and is likely to be used as a formative object. The cube shapes can be expressed in various forms through visual and perceptual spatial changes by presenting various shape changes based on the viewpoint of the two-dimensional silk surface, that is, by changing the eyes' position and orientation. Various visual theorists' discussions about cube-shaped visual changes were discussed. In addition, the three-dimensional spatial illusion caused by the shape and color of Victor Bazaarelli's cube was examined. The cube shape was printed silk surfaces to give a three-dimensional sense of space on a two-dimensional scarf design using the size change, the difference in the length of the line, and the color change. As such, the cube shape has infinite possibilities as a method that can express three-dimensional depth and space on the flat surface of a scarf. Therefore, it is hoped that this study will be applied to various aspects as the basic data for the scarf design that expresses the spatial changes in the form of cubes.