• Restorative Dentistry and Endodontics
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• v.30 no.1
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• pp.38-48
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• 2005

The purpose of this study was to compare and evaluate the shaping ability of the three different Ni-Ti file systems used by undergraduate students. Fifty undergraduate students prepared 150 simulated curved root canals in resin blocks with three Ni-Ti file systems - $ProFile^{(R)}$ (PF), Manual $ProTaper^{(R)}$ (MPT), Rotary $ProTaper^{(R)}$ (RPT). Every student prepared 3 simulated root canals with each system respectively. After root canal preparation, the Ni-Ti files were evaluated for distortion or breakage Assessments were made according to the presence of various types of canal aberrations. The pre- and post-instrumented canal images were attained and superimposed. The instrumented root canal width were measured and calculated for the net transportation (deviation) and the centering ratio. Under the condition of this study, both $ProTaper^{(R)}$ systems allowed significantly more removal of root canal wall than the $ProFile^{(R)}$ system. In the important other aspects such as the centering ratio, there was no significant differences between the systems. Novice dental students were able to prepare curved root canals with any kinds of Ni-Ti file systems with little aberration and great conservation of tooth structure. Students want to learn effective methods and at the same time simple rotary procedures. The rotary $ProTaper^{(R)}$ systems were one of the most compatible to these students from the point of view of cutting ability The $ProFile^{(R)}$ system was also compatible in safe and gentle shaping.

• Restorative Dentistry and Endodontics
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• v.34 no.4
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• pp.333-339
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• 2009

This study was done to determine if there is any difference in microleakage between experimental composite resins, in which various proportions of three component photoinitiators (Camphoroquinone, OPPI, Amine) were included. Four kinds of experimental composite resin were made by mixing 3.2% silanated barium glass (78 wt.%, average size; 1 ${\mu}m$) with each monomer system including variously proportioned photoinitiator systems used for photoinitiating BisGMA/BisEMA/TEGDMA monomer blend (37.5:37.5:25 wt.%). The weight percentage of each component were as follows (in sequence Camphoroquinone, OPPI, Amine): Group A - 0.5%, 0%, 1% / Group B - 2%, 0.2%, 2% / Group C - 0.2%, 1%, 0.2% / Group D - 1%, 1%, 2%. Each composite resin was used as a filling material for round class V cavities (diameter: 2/3 of mesiodistal width; depth: 1.5 mm) made on extracted human premolars and they were polymerized using curing light unit (XL 2500, 3M ESPE) for 40 s with an intensity of 600 mW/$cm^2$. Teeth were thermocycled fivehundred times between $50^{\circ}C$and $550^{\circ}C$for 30s at each temperature. Electrical conductivity (${\mu}A$) was recorded two times (just after thermocycling and after three-month storage in saline solution) by electrochemical method. Microleakage scores of each group according to evaluation time were as follows [Group: at first record / at second record; unit (${\mu}A$)]: A: 3.80 (0.69) / 13.22 (4.48), B: 3.42 (1.33) / 18.84 (5.53), C: 4.18 (2.55) / 28.08 (7.75), D: 4.12 (1.86) / 7.41 (3.41). Just after thermocycling, there was no difference in microleakage between groups, however, group C showed the largest score after three-month storage. Although there seems to be no difference in microleakage between groups just after thermocycling, composite resin with highly concentrated initiation system or classical design (Camphoroquinone and Amine system) would be more desirable for minimizing microleakage after three-month storage.

• Restorative Dentistry and Endodontics
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• v.32 no.1
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• pp.47-60
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• 2007

The purpose of this study is to compare and to evaluate the effect of pH and lactic acid concentration on the progression of artificial root caries lesion using polarizing microscope, and to evaluate the morphological changes of hydroxyapatite crystals of the demineralized area and to investigate the process of demineralization using scanning electron microscope. Artificial root caries lesion was created by dividing specimens into 3 pH groups (pH 4.3, 5.0, 5.5), and each pH group was divided into 3 lactic acid concentration groups (25 mM, 50 mM, 100 mM). Each group was immersed in acid buffer solution for 5 days and examined. The results were as follows : 1. Under polarized microscope, the depth of lesion was more effected by the lactic acid concentration rather than the pH. 2. Under scanning electron microscope, dissolution of hydroxyapatite crystals were increased as the lactic acid concentration increased and the pH decreased. 3. Demineralized hydroxyapatite crystals showed peripheral dissolution and decreased size and number within cluster of hydroxyapatite crystals and widening of intercluster and intercrystal spaces as the pH decreased and the lactic acid concentration increased. 4. Under scanning electron microscope evaluation of the surface zone, clusters of hydroxyapatite crystals were dissolved, and dissolution and reattachment of crystals on the surface of collagen fibrils were observed as the lactic acid concentration increased. 5. Under scanning electron microscope, demineralizatlon of dentin occurred not only independently but also with remineralization simultaneously. In conclusion, the study showed that pH and lactic acid concentration influenced the rate of progression of the lesion in artificial root caries. Demineralization process was progressed from the surface of the cluster of hydroxyapatite crystals and the morphology of hydroxyapatite crystals changed from round or elliptical shape into irregular shape as time elapsed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.109-117
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• 2010

This study conducts a case analysis based on the Olympic Forest Park in Beijing, which is specially designed for the 2008 Beijing Olympic Games. The construction of the Olympic Forest Park not only comprises the design philosophy of city parks and forest parks, but also applies Chinese traditional design elements. This study, first, researches on the design concepts of city parks in the context of traditional landscape architecture elements from both physical and cultural perspectives. The author studies the related materials including the"General Introduction of the Beijing Olympic Forest Park Landscape Plan", and employs the approaches of site investigation and user survey and interview, to analyze the cognition and preference degree of the various traditional design elements displayed in the Olympic Forest Park. To quantize the survey data on the Olympic Forest Park, this study uses the spss(v17.0) software to run a frequency analysis and presents detailed demographic, frequencies and means analyses. The author then reaches the conclusion on the preference degree of the various Chinese traditional design elements in the Olympic Forest Park. According to the analysis result, the elements that appear with the highest frequencies are mountains and waters, traditional garden plants and artistic conception. The most favorable elements are in sequence traditional garden architecture, traditional garden philosophical thinking and artistic conception. The Olympic Forest Park in Beijing is constructed on the basis of multiple design elements, comprising Chinese traditional design elements and the historical axis. As an exemplification of contemporary city park that reflects the variation of age and development of society, the Olympic Forest Park offers the reference for the selection of traditional design elements in the future schemes of city parks. However, due to the difficulty in gathering materials about the Forest Park and the limitations on the location and time constrain of the survey, there exists lack of sufficiency that could be improved in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.70-83
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• 2013

To widen prospect of villa as Korea traditional garden, the result of the research about constructional characteristics of Seogo-jeongsa and Sameun-jeong of Yeoju Lee family at Toero-ri, Miryang-si, Gyeongsangnam-do, Korea, is abstracted as below. Seogo-jeongsa(西皐精舍) and Sameun-jeong(三隱亭) was intended to practise retirement with sense of unity with the head residence, since Seogo-jeongsa was 340m far and sameun-jeong was 630m far away from head residence, which set within 1km. Although Seogo-jeongsa's basic prop, Sameun-jeong's timber, which are both from designer's pen name and head residence name, "Hangjae(恒齋)" and "Yongjae(庸齋)," and Hanseoam have each different exposure, it is homogeneous as space configurational side in order to optimize the gaze leading effect and appreciated domestic trees from the pond, which is center of the garden and the significant facility. Method of direction of Seogo-jeongsa's Hwalsudang(活水塘) and Sameunjeong's pond of Sameun-ji(三隱 池) gets attention by distinction. Especially, directing of 3 step water flow from behind to front and traditional pond method, called Bangji-Bangdo(方池方島), were very unique that any other place can be found. Also, the middle islet on the pond at both villa, which isn't more supper, but more for the symbolic molding that seek a stone pagoda(石假山), is more interesting directing method as considering the relationship of the 3 stone pagoda imageries on the surface of Ghwayukchon(果肉泉) At the same time, Seogo-jeongsa and Sameun-jeong shows very different characteristics from traditional villa that adopted both domestic trees and foreign trees. Particularly, it is extremely exceptional case to plant vigorous needleleaf tree, such as Chamaecyparis pisifera, C. obtusa, Pinus bungeana, P. palustris, Sciadopitys verticillata, Metasequoia glyptostroboides and Cedrus deodara, on Sameun-jeong. Moreover, adopting foreign wild needleleaf trees for landscaping trees, such as a Torreya nucifera, Taxus cuspidata, P. parviflora, and foreign landsacping trees, such as P. bungeana, Cryptomeria japonica and C. obtusa tells planting trend of the late Joseon dysnasty era. Also, as we can know from 2 Jipgyeong(集景), which is 'Seogo-jabyoung 17 young(西皐雜詠十七詠)', and 'Sameun-jeong 12 Gyoung(三隱亭十二景)' which are set on both villa, the intend to expand the garden area is strongly shown by the natural forest directing. As a result, Seogo-jeongsa and Sameun-jeong, located at Toero-li Miryang, are sharing the traditional Joseon dynasty era's custom, such as space and visual composition; however, it is different and attractive garden remains as a point of view of water directing, stone pagodas, and adopting foreign landscaping trees.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.113-122
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• 2013

In this study, the traditional structure of the impact on the stability analysis. Korean traditional landscape architecture column space of stonework stable composition as the foundation of the fence for a long time been known to fall down and not maintained. The destination of research Ohgokmun Damyang Soswaewon fence which is in harmony with nature is one of the traditional structures that affect its shape without being kept so far came true. This includes our ancestral wisdom and that wisdom can guess guesswork. But I let the traditional reproduction incidence structures frequently. This deviation from the traditional method of construction application of shorthand stand. Thus, the subject of this study, the factors that do not fall down fences Ohgokmun solution is to indirectly gain the weak. In addition, epidemiological studies and the methods of calculation of the inferred physical examination, the results of the analysis were derived through the following. First, the internal factors of the fence Ohgokmun constituting the structural member and the coupling of the scheme. 1) based on stable ground. Greater role in the country rock The fact that the settlement will have no symptoms. 2) to minimize the friction caused by hydrological water to remove the two-pronged process through stone work building form and menu sustaining power in hydrology and flooding made against the bypass channel. 3) due to the load bearing capacity and durability to withstand the strength of the material and the construction of structures in the form of a dispersion of power between each individual to maximize the process of getting traction was applied. Second, external factors Ohgokmun fence the results obtained through the calculation of the dynamics of repair, is greatly affected by the wind and the water gate of the fence, but the action of the structural stability of the lack of power that hurt enough conclusion. In this study, the results of the structure of internal and external influence as well through the structure can be viewed as composed consisting. However, over the next follow-up in terms of climate and environmental factors due to the fact that the fall might.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.