• Transactions of the Korean Society of Mechanical Engineers B
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• v.27 no.4
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• pp.407-414
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• 2003

Analysis and experiment are performed to investigate the thermal performance of a heat pipe with axial grooves. The heat pipe was designed in a 6.5 mm I.D., 17 axial trapezoidal grooves. 1000 mm long tube of aluminium, and ammonia as working fluid. A mathematical equations fur heat pipe with axial grooves is formulated to obtain the capillary limitation on heat transport rate in a steady state. As a result, heat transport factor of heat pipe has the maximum at the operating temperature of 293K in 0m elevation. As the elevation of heat pipe increases. the heat transport factor of the heat pipe is reduced markedly, comparing with that of horizontal elevation of the heat pipe. It may be considered that such behavior of heat pipe is caused by the working fluid swarmed back to the condenser port due to gravity force and supercooled by a coolant of heat exchanger. Analytical results of heat transport factor are in a good agreement with those of experiment.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.15 no.1
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• pp.1-8
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• 2003

An analytical and experimental study of the thermal performance of axial heat pipe with axial groove is conducted to determine the optimal mass of working fluid for the maximum heat transport capacity of heat pipe with axial grooves. Generally, the mass of working fluid has been fully charged by considering only a geometrical shape of axial grooves embedded in a heat pipe. When the heat pipe is operated in a steady state, the meniscus re-cession phenomena of working fluid is occurred in the evaporator region. In this work, the optimal mass of working fluid was obtained from the axial variation of capillary pressure, the radius of curvature and wetting angle of meniscus of liquid-vapor interface. Experimental results were also obtained by varying the mass of working fluid within a heat pipe, and presented for the maximum heat transport capacity corresponding to the operating temperature and the elevation of heat pipe. Finally, the analytical results of the optimal mass of working fluid were compared with those of the experimental mass of working fluid.

• Journal of Convergence for Information Technology
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• v.9 no.6
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• pp.7-12
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• 2019

In order to shoot underwater, the photographer must be equipped with shooting equipment and enter into the water. Since the photographer directly enters the water, safety accidents occur frequently due to various obstacles or deep water in the water. The proposed underwater stereo photography technique can solve the safety accident problem caused by the entry of the photographer into the water by using the drone for underwater photographing. In addition, this technique has the advantage of obtaining underwater images at low cost. In this study, the angle of the proposed cam for stereoscopic photography was analyzed and the condition that the proper stereoscopic image can be viewed was defined as the distance from the floor of 18cm to the floor distance of 41.4cm. This provision is proposed to be used to adjust the height of the shooting area descended by the elevation chain of the water surface hovering drones.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.