• Journal of Bio-Environment Control
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• v.28 no.3
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• pp.255-264
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• 2019

In this study, we conducted the hot box tests to compare the changes in thermal insulation for the four types of multi-layer thermal screens by the used period after collecting them from the greenhouses in the field when they were replaced at the end of their usage. The main materials for these four types of multi-layer thermal screens were matt georgette, non-woven fabrics, polyethylene (PE) foam, chemical cotton, etc. These materials were differently combined for each multi-layer thermal screen. We built specimens ($70{\times}70cm$) for each of these multi-layer thermal screens and measured the temperature descending rate, heat transmission coefficient, and thermal resistance for each specimen through the hot box tests. With regard to the material combinations of multi-layer thermal screens, thermal insulation can be increased by applying a multi-layered PE foam. However, it is considered that the multi-layered PE foam significantly less contributes to heat-retaining than chemical wool that forms an air-insulating layer inside multi-layer thermal screens. For the suitable heat-retaining performance of multi-layer thermal screens, basically, materials with the function of forming an air-insulating layer such as chemical cotton should be contained in multi-layer thermal screens. The temperature descending rate, heat transmission coefficient, and thermal resistance of multi-layer thermal screens were appropriately measured through the hot box tests designed in this study. However, in this study, we took into consideration only the four kinds of multi-layer thermal screens due to difficulties in collecting used multi-layer thermal screens. This is the results obtained with relatively few examples and it is the limit of this study. In the future, more cases should be investigated and supplemented through related research.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.4-31
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• 2018

The Neolithic pottery excavated from the Jungsandong site has been classified into four types of pottery (I: feldspar type, II: mica type, III: talc type and IV: asbestos type) according to their mineral composition. These four types of potteries generally appear to have undergone incomplete firing, while the level of oxidation in the type I pottery objects, which have a relatively higher clay content, was found to be particularly low. The type III objects, which have a high talc content, are judged to have been somewhat slow in removing carbon because they contain saponite belonging to the smectite group. Of the four types of pottery, type IV showed the highest redness and the most uniform characteristics, thus indicating a good level of oxidation. In particular, fixed carbide (C; 33.7 wt.%) with a thickness of about 1mm, and originating from organic substances, was detected inside the walls of the type I pottery, while the deep radial cracks in the outer surfaces of the pottery are thought to have been caused by repeated thermal shocks. Given that all of the pottery except for the type I artifacts are considered to be have been made for storage purposes, those containing talc and tremolite are easy to done liquid storing vessels based on an analysis of their material characteristics. As for the type II relics, which are composed of various minerals and exhibit poor physical properties, they seem to have been used for simple storage purposes. As domestic talc and asbestos mines were concentrated in the areas of Gyeonggi, Gangwon, Chungbuk, and Chungnam, it seems likely that talc and tremolite were produced as contiguous minerals. Considering the distance between the remains in Jungsandong and these mines and their geographical distribution, there is a possibility - albeit somewhat slight - that these mines were developed for the mining of various minerals. Although ultramafic rock masses - such as serpentine capable of generating talc and tremolite - have not been found in the Jungsandong area, limestone and biotite granite containing mica schist have been identified in the northwestern part of Yeongjong Island, indicating that small rock masses might have formed there in the past. Therefore, it is judged necessary to accumulate data on pottery containing talc and tremolite, other than the remains in Jungsandong, and to investigate the rocks and soils in the surrounding area with greater precision. The firing temperatures of the pottery found at the Jungsandong site were interpreted by analyzing the stability ranges of the mineral composition of each type. As a result, they have been estimated to range from 550 to $800^{\circ}C$ for the type I artifacts, and from 550 to $700^{\circ}C$ for the type I, II and IV artifacts. However, these temperatures are not the only factors to have affected their physical properties and firing temperature, and the types, particle sizes, and firing time of the clay should all be taken into consideration.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.56-69
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• 2011

A Gamsil is an ritual instrument which enshrine the ancestral tablets of four lines from late great-great-grandfather and grandmother to late father and mother. This has their soul. Juja's "Garye" informs its structure pattern. It is placed in Sadang and takes the form of a perfectly square box. It partitions four rooms and enshrine an ancestral tablet room by room. They get the ancestral tablets line up from west to east. And they also enshrine the ancestral tablets without his descendant together in Gamsil. A Gamsil is a space to enshrine the ancestral tablets and to place an order within a family. A social status and A family economic power become a standard in making and managing Sadang. Kingdom in Joseon period limited the ancestral tablets considering of his degree of official rank which descendant enshrined. A official servant can be stable economically in getting a stipend and build sadang in the house. While household a little in economic enshrine the ancestral tablets at a Gamsil placed at the a space of private home. His personal circumstances make size and pattern, place change in relation to Gamsil. A Gamsil looks like house in structure and pattern. It has the immortality of the soul. And it changed from a table size to a ancestral tablet size. This Gamsil is comfortable to move and is made considering of the width and height of household. The transition of Gamsil means institutions is in close to a family economic power in social change. Kingdom in Joseon early period makes a policy of a Gamyo's build and an ancestral enshrine in basement of Juja's "Garye". The transition of Gamsil gave a common people limitted socially and institutionally the service of late four lines. Most of people enshrine the ancestral tablets of their four lines in approaching of in the late of Joseon Dinasty. They compromise on their reality and cause. The transition of Gamsil implied many different things in social ; the authenticity search and a dignity expression of his family, the foundation for the diffusion of an ancestral service, a space sharing with ancestor and descendent, the increment of a family economic power etc.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.148-165
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• 2017

Mural paintings drawn inside ancient tombs are very sensitive to changes in the environment such as temperature and humidity, especially the finish layer of the tomb murals differ in preservability depending on the material properties and humidity conditions. In this study, I examined the mural painting of Songsan-ri Tomb No.6, where the finish layer was made of earth, and identified the physical changes that can occur due to drying, depending on the material properties of the finish layer. I found out through particle size analysis that the finish layer of the mural painting in Songsan-ri Tomb No.6 is about 85.0wt% below silt, about 14.0wt% clay therein, mostly composed of silt and below clay. I also found out through physical property evaluation that surface change rate of samples showed the largest change at 15.5% in reproduced finish layer sample made up of bentonite, followed by 7.8% of reproduced finish layer sample made up of celadon soil, 6.3% of reproduced finish layer sample made up of loess, 6.2% of reproduced finish layer sample composed of white clay and the same order of change in appearance was confirmed in each sample consisted of soil. In addition, it showed the same trend of surface change rate, and the bentonite condition showed the largest change, in the measurement of shrinkage rate and expansion rate. The experiment shows that the finish layer composed of soil is affected by cohesion among particles according to the content of fine parts and the relationship between the agglomeration due to the content of the differentiated part and the stress due to the expansibility depending on the kind of the clay mineral etc. Therefore, it can be concluded that the physical damage occurred in the mural painting finish layer of the Songsan-ri Tomb No.6 is related to the factors such as the material characteristics of the soil and the highly humid environmental change inside the tomb.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.6
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• pp.85-96
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• 2018

Developed nations have implemented various policies to reduce greenhouse gases since the 1997 Kyoto Protocol in order to minimize the effects of global warming. Korea should also reduce energy consumption in the industrial sector, and the transportation and building sectors in order to achieve its greenhouse gas reduction target of 37 percent compared to the Business As Usual levels. The government implements various laws and regulations for reducing energy consumption. To reduce energy consumption in the building sector, in particular, the Energy Conservation Design Standards are enforced according to the 'Enforcement Support for Green Building Construction'. The amount of electricity used to maintain room temperature at $28^{\circ}C$ in these buildings have a 30% reduction (measured on the walls and rooftop) in power usage compared to buildings not required to meet these standards. Although the effect of these energy savings on landscaping is proven, this demonstration is not effective for energy saving since it is not a suitable method for the 'Energy Saving Design Standards of Buildings'. For landscaping to be effective as far as a component of energy reduction, the perfusion rate of the building should be calculated based on the thermal conductivity of the component materials for the energy saving designs with respect to the basis of Article 14 of the Green Building Act. Therefore, the purpose of this study is to ensure that the planting-based mats currently being widely used in the landscape industry can have insulating performance suitable for the 'Energy Saving Design Standards' of Buildings according to the 'Enable Green Building Construction Methods'.

• The Journal of Korean Academy of Prosthodontics
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• v.57 no.2
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• pp.118-126
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• 2019

Purpose: This research is to investigate factors that affect dental aesthetics and analyze whether individual perception affects and difference of genders affects the esthetic factors. Materials and methods: Seventy dental students of Chonnam University aged from 25 to 35 years old without periodontal problems were included. Maxillary dental cast for participants were made, and standardized photo was taken with a digital camera. Maximum visual width and the position of gingival zenith of maxillary anterior teeth and maximum height of the maxillary central incisors were measured by a measurement program and the shape of central incisor was categorized. Questionnaire was conducted to evaluate esthetic perception. SPSS program was used to perform statistical analysis. Results: The average visual width ratio of right maxillary anteriors was 1.38:1:0.78 and 1.41:1:0.81 for the left which differ from the golden ratio. The width to height ratio for right and left central incisor was 0.84 and 0.83 respectively. The gingival zenith position was determined to be: mostly, central incisors and canines were located in the distal side, lateral incisors were located in the center. The visual width ratio of right maxillary anterior teeth, ratio of width to height of central incisor, gingival zenith position, crown morphology and amounts of gingival exposure upon smiling were not significantly different between genders, and facial patterns and these dental esthetic factors were not related to aesthetic perception. Conclusion: Even though participants had the visual width ratio of maxillary anteriors or ideal width to ideal height of central incisors that did not agree with the golden ratio, they had high satisfaction for dental esthetics. Esthetic perception depends more on subjective judgements of participants than objective indices.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Journal of agriculture & life science
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• v.53 no.5
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• pp.137-143
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• 2019

To manufacturing of solid fuel by reuse of the wastes, the drying unit which have 500 kg/hr of drying capacity was developed and experimentally evaluate the performance. The spinach grown in Nam-hae island were used for the experiments and investigated of the heated-air drying characteristics as the inlet amount of raw materials, raw material stirring status, conveying type and drying time. The drying air heated by the energy derived from the steam which is supplied from the incineration plant. The moisture contents of raw materials were measured 85.65%. The inlet flow rate of drying air made a difference as the depth of the raw materials loaded on the drying unit and temperature has showed 108~144℃. The drying speed of the mixed drying more than doubled as that of non mixed drying under the same drying type, inlet amount, drying time and drying air temperature. In each experiment, the drying capacity have showed over 500 kg/hr. A drying efficiency of the ratio of drying consumption energy to input energy was 33.46%, lower than the average of 57.76% for the 157 conventional dryers. Because developed dryer must have a drying time of less than one hour, it is considered that the dry efficiency has been reduced due to the loss of wind volume during drying. If waste heat from incineration plant is used as a direct heat source, the dry air temperature is expected to be at least 160℃, greatly improving the drying capacity.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.78-99
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• 2020

The Buddha triad and 16 Arhat statues carved on the rock surface at Seongbulsa temple is the only domestic remaining example of all 16 Arhats, so its academic value is very high. However, it is severely damaged and so required a stability evaluation through study of digital documentation and precise diagnosis for the purpose of comprehensive conservation. This process established that the Buddha statues were of similar scale, while the Arhats showed a wide variety of sizes, and the two kith and kin in the volume were larger than the Arhats. It was estimated that the statues of food for Buddha are similar to the Arhat statues, and most of the statues are well-formed. The rock used to carve the Buddha statues is banded gneiss with distinct foliation, alternating between white bands of quartz and feldspar and black bands composed of biotite. The Buddha statues have been damaged by physical weathering, discoloration, and biological contamination. In damage evaluations, joint (3.6 crack index), peeling (5.2%), exfoliation (1.7%), and falling off (0.1%) were observed on the rock surface of the Buddha statues. In particular, due to severe biological weathering, stage 9 and 10 biological coverage of the rock surface accounted for 57.5% of the total area, and stages 5 to 8 also accounted for a high share at 22.3%. The discoloration factors were shown to be dark brown and white with Fe, Ca, and S, and a large amount of C detected in the blackened contaminants, and the damage weight high in all areas. Discontinuities in different directions were identified in the rock surface. Analysis of potential rock failure types indicated that there is a possibility of plane and toppling failure, but wedge failure is unlikely to occur. The mean ultrasonic velocity of the main rock surface was 2,463m/sec, the lower part of the left side with a large number of joints was relatively low, and the highly weathered (HW) type to the completely weathered (CW) type concentrated distribution, showing weak properties. For the Buddha statues, conservation treatment is required for about 14.9% of micro cracks and 58.9% of exfoliation cracks. In addition, in order to improve the conservation environment of the Buddha statues, maintenance of drainage and ground preparations for the rock surface gradient and plants are necessary, and protection facilities should be reviewed for long-term conservation and management purposes.