Study on Behaviour of Flood Wave-front Varied with Levee Breach Speed in Flat Inundation Area (평탄지형 제내지에서의 제방붕괴속도에 따른 범람홍수파 선단 거동에 관한 연구)
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- Journal of the Korea Academia-Industrial cooperation Society
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- v.18 no.1
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- pp.537-544
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- 2017
An experimental study was carried out to investigate the characteristics of the propagation distance of a flood wave considering the levee failure speed in a flat inundation area. The Ritter solution for one dimensional flow was considered to formulate the experimental results and a representative form with coefficients of k and m, which consider the three dimensional flow characteristics, was applied. The experiments showed that the propagation velocity of the wave front in the inundation area was influenced by the levee breach speed as well as the initial water level, which is a significant variable representing the flood wave behavior. In addition, coefficients k and m are not constants, but variables that vary with levee breach speed. An empirical formula was also suggested using the experimental results in the form of the relationships between k and m. In this study, a large-scale experiment for flood inundation was carried out to examine the behavior of flooding in the inundated area and the relationships between the levee breach speed and wave-front propagation velocity were suggested based on the experimental results. These research results are expected to be used as the baseline data to draw a flow inundation map, establish an emergency action plan, and verify the two-dimensional numerical model.
In this paper a virtual form of 3 dimensional face is synthesized from the two sheets of 2 dimensional photographs In this case two sheets of 2D face photographs, the front and the side photographs are used First of all a standard model for a general face is created and from this model the feature points which represents a construction of face are densely defined on part of ears. eyes, a nose and a lip but the other parts. for example, forehead, chin and hair are roughly determined because of flat region or the less individual points. Thereafter the side photograph is connected symmetrically on the left and right sides of the front image and it is gradually synthesized by use of affine transformation method. In order to remove the difference of color and brightness from the junction part, a linear interpolation method is used. As a result it is confirmed that the proposed model which general model of a face can be obtain the 3D virtual image of the individual face.
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The purpose of this study is to identify the supply status and planning trend of North Korean housing through analysis on the North Korean architecture specialized media data. The flat composition is changing and the living room is becoming the center of the houses. Also, in the urban areas, the standard apartment type is four apartments in a row and the plan form is getting diversified into circle type, Y type, and irregular type. On the other hand, in the rural areas, two houses in a row and single house are typical and the change in planning scale and space structure are not substantial. Since the 2000s, design changes have been made to emphasize the third dimensional structure of buildings such as the elliptical houses and L-shaped houses. Furthermore, 8~10 households are located on one floor which leads to the tendency of the building enlargement. In terms of house size, a square concept was introduced to replace the initial 2~3 room concept and the basic module of the room planning the 3 room house based on
PURPOSE. The purpose of this study was to evaluate the influence of different palatal vault configurations on the accuracy and scan speed of intraoral scans (IO) of completely edentulous arches. MATERIALS AND METHODS. Three different virtual models of a completely edentulous maxillary arch with different palatal vault heights- Cl I moderate (U-shaped), Cl II deep (steep) and Cl III shallow (flat)-were digitally designed using CAD software (Meshmixer; Autodesk, USA) and 3D-printed using SLA-based 3D-printer (XFAB; DWS, Italy) (n = 30; 10 specimens per group). Each model was scanned using intraoral scanner (Trios 3; 3ShapeTM, Denmark). Scanning time was recorded for all samples. Scanning accuracy (trueness and precision) were evaluated using digital subtraction technique using Geomagic Control X v2020 (Geomagic; 3DSystems, USA). One-way analysis of variance (ANOVA) test was used to detect differences in scanning time, trueness and precision among the test groups. Statistical significance was set at α = .05. RESULTS. The scan process could not be completed for Class II group and manufacturer's recommended technique had to be modified. ANOVA revealed no statistically significant difference in trueness and precision values among the test groups (P=.959 and P=.658, respectively). Deep palatal vault (Cl II) showed significantly longer scan time compared to Cl I and III. CONCLUSION. The selection of scan protocol in complex cases such as deep palatal vault is of utmost importance. The modified, adopted longer path scan protocol of deep vault cases resulted in increased scan time when compared to the other two groups.
The objective of this study is to determine the effect of fiber direction arrangement and layer composition of hybrid bamboo laminate boards on the physical and mechanical properties. The raw material used was tali bamboo (Gigantochloa apus (J.A. & J.H. Schultes) Kurs) rope in the form of flat sheets (zephyr) and falcata veneer (Paraserianthes falcataria (L) Nielsen). Zephyr bamboo was arranged in three layers using water-based isocyanate polymer (WBPI) with a glue spread rate of 300 g/m2. There were variations in the substitution of the core layer with falcata veneers (hybrid) as much as two layers and using a glue spread rate of 170 g/m2. The laminated bamboo board was cold-pressed at a pressure of 22.2 kgf/cm2 for 1 h, and the physical and mechanical properties were evaluated. The results showed that the arrangement of the fiber direction significantly affected the dimensional stability, modulus of rupture, modulus of elasticity, shear strength, and screw withdrawal strength. However, the composition of the layers had no significant effect on the physical and mechanical properties. The bonding quality of bamboo laminate boards with WBPI was considered to be quite good, as shown by the absence of delamination in all test samples. The bamboo hybrid laminate board can be an alternative based on the physical and mechanical properties that can meet laminated board standards.
The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70
The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.