• Explosives and Blasting
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• v.9 no.1
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• pp.3-13
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• 1991

The cautious blasting works had been used with emulsion explosion electric M/S delay caps. Drill depth was from 3m to 6m with Crawler Drill ${\phi}70mm$ on the calcalious sand stone (soft -modelate -semi hard Rock). The total numbers of test blast were 88. Scale distance were induced 15.52-60.32. It was applied to propagation Law in blasting vibration as follows. Propagtion Law in Blasting Vibration $V=K(\frac{D}{W^b})^n$ were V : Peak partical velocity(cm/sec) D : Distance between explosion and recording sites(m) W : Maximum charge per delay-period of eight milliseconds or more (kg) K : Ground transmission constant, empirically determind on the Rocks, Explosive and drilling pattern ets. b : Charge exponents n : Reduced exponents where the quantity $\frac{D}{W^b}$ is known as the scale distance. Above equation is worked by the U.S Bureau of Mines to determine peak particle velocity. The propagation Law can be catagorized in three groups. Cubic root Scaling charge per delay Square root Scaling of charge per delay Site-specific Scaling of charge Per delay Plots of peak particle velocity versus distoance were made on log-log coordinates. The data are grouped by test and P.P.V. The linear grouping of the data permits their representation by an equation of the form ; $V=K(\frac{D}{W^{\frac{1}{3}})^{-n}$ The value of K(41 or 124) and n(1.41 or 1.66) were determined for each set of data by the method of least squores. Statistical tests showed that a common slope, n, could be used for all data of a given components. Charge and reduction exponents carried out by multiple regressional analysis. It's divided into under loom over loom distance because the frequency is verified by the distance from blast site. Empirical equation of cautious blasting vibration is as follows. Over 30m ------- under l00m ${\cdots\cdots\cdots}{\;}41(D/sqrt[2]{W})^{-1.41}{\;}{\cdots\cdots\cdots\cdots\cdots}{\;}A$ Over 100m ${\cdots\cdots\cdots\cdots\cdots}{\;}121(D/sqrt[3]{W})^{-1.66}{\;}{\cdots\cdots\cdots\cdots\cdots}{\;}B$ where ; V is peak particle velocity In cm / sec D is distance in m and W, maximLlm charge weight per day in kg K value on the above equation has to be more specified for further understaring about the effect of explosives, Rock strength. And Drilling pattern on the vibration levels, it is necessary to carry out more tests.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

• Radiation Oncology Journal
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• v.18 no.1
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• pp.1-10
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• 2000

Purpose : Although using the high energy Photon beam with conventional Parallel-opposed beams radiotherapy for nasopharyngeal carcinoma, radiation-induced xerostomia is a troublesome problem for patients. We conducted this study to explore a new parotid gland sparing technique in 3-D conformal radiotherapy (3-D CRT) in an effort to prevent the radiation-induced xerostomia. Materials and Methods : We peformed three different planning for four clinically node-negative nasopharyngeal cancer patients with different location of tumor(intracranial extension, nasal cavity extension, oropharyngeal extension, parapharyngeal extension), and intercompared the plans. Total prescription dose was 70.2 Gy to the isocenter. For plan-A, 2-D parallel opposing fields, a conventional radiotherapy technique, were employed. For plan-B, 2-D parallel opposing fields were used up until 54 Gy and afterwards 3-D non-coplanar beams were used. For plan-C, the new technique, 54 Gy was delivered by 3-D conformal 3-port beams (AP and both lateral ports with wedge compensator; shielding both superficial lobes of parotid glands at the AP beam using BEV) from the beginning of the treatment and early spinal cord block (at 36 Gy) was peformed. And bilateral posterior necks were treated with electron after 36 Gy. After 54 Gy, non-coplanar beams were used for cone-down plan. We intercompared dose statistics (Dmax, Dmin, Dmean, D95, DO5, V95, VOS, Volume receiving 46 Gy) and dose volume histograms (DVH) of tumor and normal tissues and NTCP values of parotid glands for the above three plans. Results : For all patients, the new technique (plan-C) was comparable or superior to the other plans in target volume isodose distribution and dose statistics and it has more homogenous target volume coverage. The new technique was most superior to the other plans in parotid glands sparing (volume receiving 46 Gy: 100, 98, 69$\%$ for each plan-A, B and C). And it showed the lowest NTCP value of parotid glands in all patients (range of NTCP; 96$\~$100$\%$, 79$\~$99$\%$, 51$\~$72$\%$ for each plan-A, B and C). Conclusion : We conclude that the new technique employing 3-D conformal radiotherapy at the beginning of radiotherapy and cone down using non-coplanar beams with early spinal cord block is highly recommended to spare parotid glands for node-negative nasopharygeal cancer patients.

• Radiation Oncology Journal
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• v.16 no.3
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• pp.265-274
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• 1998

Purpose : This prospective study has been conducted to assess the value of three dimensional conformal radiation therapy (3DCRT) for lung cancer and to determine its potential advantage over current treatment approaches. Specific aims of this study were to 1) find the most ideal 3DCRT technique 2) establish the maximum tolerance dose that can be delivered with 3DCRT and 3) identify patients at risk for development of radiation pneumonitis. Materials and Methods : Beginning in Nov. 1994, 95 patients with inoperable non-small cell lung cancer (stage I; 4, stage II; 1, stage IIIa; 14, stage IIIb; 76) were entered onto this 3D conformal trial Areas of known disease and elective nodal areas were initially treated to 45 Gy and then using 3DCRT technique 65 to 70 Gy of total dose were delivered to the gross disease. Sixty nine patients received 65 Gy of total dose and 26 received 70 Gy Seventy eight patients (82.1$\%$) also received concurrent MVP chemotherapy. 3DCRT plans were compared with 2D plans to assess the adequacy of dose delivery to target volume, dose volume histograms for normal tissue, and normal tissue complication Probabilities (NTCP). Results : Most of plans (78/95) were composed of non-coplanar multiple (4-8) fields. Coplanar segmented conformal therapy was used in 17 pateints, choosing the proper gantry angle which minimize normal lung exposure in each segment. 3DCRT gave the full dose to nearly 100$\%$ of the gross disease target volume in all patients. The mean NTCP for ipsilateral lung with 3DCRT (range; 0.17-0.43) was 68$\%$ of the mean NTCP with 2D treatment planning (range; 0.27-0.66). DVH analysis for heart showed that irradiated volume of heart could be significantly reduced by non-coplanar 3D approach especially in the case of left lower lobe lesion. Of 95 patients evaluable for response, 75 (79$\%$), showed major response including 25 (26$\%$) with complete responses and 50 (53$\%$) with partial responses. One and two rear overall survivals of stage III patients were 62.6$\%$ and 35.2$\%$ respectively. Twenty percent (19/95) of patients had pneumonitis; Eight patients had grade 1 pneumonitis and 11 other patients had grade 2. Comparison of the average of NTCP for lung showed a significant difference between patients with and without radiation pneumonitis. Average NTCP for Patients without complication was 62$\%$ of those with complications. Conclusions : This study showed that non-coplanar multiple fields (4-8) may be one of the ideal plans for 3DCRT for lung cancer. It also suggested that 3DCRT may provide superior delivery of high dose radiation with reduced risk to normal tissue and that NTCP can be used as a guideline for the dose escalation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.196-219
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• 2019

According to the Samguk Yusa, the nine-story wooden pagoda at Hwangnyongsa Temple was built by a Baekje artisan named Abiji in 645. Until the temple was burnt down completely during the Mongol invasion of Korea in 1238, it was the greatest symbol of the spiritual culture of the Korean people at that time and played an important role in the development of Buddhist thought in the country for about 700 years. At present, the only remaining features of Hwangnyongsa Temple, which is now in ruins, are the pagoda's stylobate and several foundation stones. In the past, many researchers made diverse inferences concerning the restoration of the original structure and the overall architecture of the wooden pagoda at Hwangnyongsa Temple, based on written records and excavation data. However, this information, together with the remaining external structure of the pagoda site and the assumption that it was a simple wooden structure, actually suggest that it was a rectangular-shaped nine-story pagoda. It is assumed that such ideas were suggested at a time when there was a lack of relevant data and limited knowledge on the subject, as well as insufficient information about the technical lineage of the wooden pagoda at Hwangnyongsa Temple; therefore, these ideas should be revised in respect of the discovery of new data and an improved level of awareness about the structural features of large ancient Buddhist pagodas. This study focused on the necessity of raising awareness of the lineage and structure of the wooden pagoda at Hwangnyongsa Temple and gaining a broader understanding of the structural system of ancient Buddhist pagodas in East Asia. The study is based on a reanalysis of data about the site of the wooden pagoda obtained through research on the restoration of Hwangnyongsa Temple, which has been ongoing since 2005. It is estimated that the wooden pagoda underwent at least two large-scale repairs between the Unified Silla and Goryeo periods, during which the size of the stylobate and the floor plan were changed and, accordingly, the upper structure was modified to a significant degree. Judging by the features discovered during excavation and investigation, traces relating to the nine-story wooden pagoda built during the Three Kingdoms Period include the earth on which the stylobate was built and the central pillar's supporting stone, which had been reinstalled using the rammed earth technique, as well as other foundation stones and stylobate stone materials that most probably date back to the ninth century or earlier. It seems that the foundation stones and stylobate stone materials were new when the reliquaries were enshrined again in the pagoda after the Unified Silla period, so the first story and upper structure would have been of a markedly different size to those of the original wooden pagoda. In addition, during the Goryeo period, these foundation stones were rearranged, and the cover stone was newly installed; therefore, the pagoda would seem to have undergone significant changes in size and structure compared to previous periods. Consequently, the actual structure of the original wooden pagoda at Hwangnyongsa Temple should be understood in terms of the changes in large Buddhist pagodas built in East Asia at that time, and the technical lineage should start with the large Buddhist pagodas of the Baekje dynasty, which were influenced by the Northern dynasty of China. Furthermore, based on the archeological data obtained from the analysis of the images of the nine-story rock-carved pagoda depicted on the Rock-carved Buddhas in Tapgok Valley at Namsan Mountain in Gyeongju, and the gilt-bronze rail fragments excavated from the lecture hall at the site of Hwangnyongsa Temple, the wooden pagoda would appear to have originally been an octagonal nine-story pagoda with a dual structure, rather than a simple rectangular wooden structure.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.160-189
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• 2010

This study has been designed to grasp the present situation, shapes and meaning of the standing stones and rock pillars in the whole area of Noseong Mountain Fortress in Nonsan City which have never been academically reported yet. Accordingly, the research was carried out to grasp the spatial identity of Noseong Mt. and Noseong Mountain Fortress and the dispersion of standing stones scattered around inside and outside Noseong Mountain Fortress, while the shapes and structural characteristics of stones were investigated and analyzed focusing on Chongsuk Temple, which was considered to have the highest density of standing stones and greatest values for preservation as a cultural property. In consideration of the reference to the 'Top Sa' (tower temple) at the 'Bul Woo Jo' (Article about Buddhism Houses) of 'Shinjoong Dongguk Yeoji Seungram', theoretical existence of the temple according to surveying investigation, and the excavation records of roof tile pieces with the name of 'Gwan Eum Temple', it is presumed that there had been a Buddhist sanctum inside the fortress and it could be connected to the carved letters, 'Chongsuk Temple'. According the observation survey, the 6th place of standing stones among many other places inside the fortress shows that Chongsuk Temple appears to have the strong characteristics of artificially constructed space in consideration of the size of trees and stones, the composite trend of tree and stone composition, and trace of the adjacent well and strand and the construction of stairway leading to the stone gate. Along with the constellation of the Big Dipper carved on a rock at the same space, the stones, on which the letters of 'Shinseonam', 'Chilseongam' and 'Daejangam' were carved, including 'Chongsuksa', and the carved statue of Buddha, which was assumed to be Avalokitesvara Guan Yin, have offered clue which make it possible to infer that the space was a space for Chilseong and Mountain god(Folk Belief) that had originated from the combination of Buddhism, Taoism and folk religion. According to the actual measurement of standing stones at Chonsuk Temple, it was identified that there were big differences in height among 24 stones in total, ranging from 402~29cm and the averaged distance between each stone appeared to be 23.6cm. And the shape of stones appeared to be standing or flat, and various stones such as mountain-like stones and Buddha-like stones were placed in a special arrangement or assorted arrangement, but the direction of the stones had a consistency pointing to the west. And comparing to the trace of construction of ZEN Landscape Garden well known in the country, the three flat stones except for the standing and shaped stones appeared to have the shape of meditation statue, which is the typical formational factors of a ZEN Landscape Garden, on the basis of formational technique of stones. Among them, the flat stone facing the Buddhist saint statue, was formed by way of symbolization of three-mountain stone, which was assumed to be an offering stone for sacrificial food rather than carrying out ZEN Meditation. In consideration of the formation of standing stones at Chong-suk Temple, which was carried out in the composite stoning method based using the scalene triangle with ratio of 3:5:7 in order to seek the in-depth beauty based on the stone statues of three Buddhas where the three factors such as heaven, earth and humans are embodied in the elevated or flat formation, the stones at Chongsuk Temple and the space seemed to the trace of contracted garden construction that was formed with stones for a temple, so that could be used for ZEN meditation.

• (The)Study of the Eastern Classic
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• no.56
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• pp.35-73
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• 2014

This paper examined the poem world of Simjae(深齋) Cho Geung-seop(曺兢燮: 1873-1933) in the turning point of the modern era, focused on his Hwaunsi (和韻詩: Poems written by using the rhymes of other poets' poems). In his poems, there are lots of Hwaunsi on the poems of Tu Fu(杜甫) and Su Shi(蘇軾), especially. This makes him regarded as a medieval poet, engaged in Chinese poem creation in the most traditional method in the turbulent period. Looking at the Hawunsi(和韻詩) alone, Simjae's creative life became the starting point of turnaround at around 40 years old. Before the age of 40, the poets in the Tang Dynasty and Song Dynasty and Ming Dynasty and Qing Dynasty and Korean figures like Lee Hwang(李滉), as well as Tu Fu and Su Shi were the subjects of his Hwanunsi. After the age of 40, some examples of writing poems using the rhymes of other poets' poems, especially Korean figures related to regions, are often found, reducing Hwaunsi on Tu Fu and Su Shi. Simjae called Tu Fu the integration of poets, talking about the integrity of poetic talent and his being highly proficient in mood and view. As reflecting such an awareness, the themes and moods and views are demonstrated diversely in Simjae's Hwaunsi. Although, he did not reveal his thinking about the poems of Su Shi, he seemed to love Su Shi's poems to some degree. The closeness to the original poems, the poems of Tu Fu are relatively higher than those of Su Shi. Roughly speaking, Simjae tried to find his own individuality, intending to follow Tu Fu, but, he seemed to attempt to reveal his intention using Su Shi's poems, rather than trying to imitate. To carefully examine, Simjae wrote Hwaunsi, but he did not just imitate, but revealed the aesthetics of comparison and difference. In many cases, he made new meanings by implanting his intentions in the poems, while sharing the opportunity of creation, rather than bringing the theme and mood and view as they are. The Hwaunsi on Su Shi's poems reveal the closeness to the original poems relatively less. This can be the trace of an effort to make his own theme and individuality, not being dominated by the Hwaun(和韻: using the rhymes of other poets' poems) entirely, as he used the creative method having many restrictions. However, it is noted that the Hwaunsi on Tu Fu's poems was not written much, after the age of 40. Is this the reason why he realized literary reality that he could not cope with anymore with only his effort within the Hwaunsi? For example, he wrote four poems by borrowing Su Shi's Okjungsi(獄中詩: poem written in jail) rhymes and also wrote Gujung Japje(拘中雜題), in 1919, while he was detained. In these poems, his complex contemplation and emotion, not restricted by any poet's rhymes, are revealed diversely. Simjae's Hwaunsi testifies the reality, in which Chinese poetry's habitus existed and the impressive existence mode at the turning point of the modern era. Although, the creation of Hwaunsi reflects his disposition of liking the old things, it is judged that his psychology, resisting modern characters' change, affected to some degree in the hidden side. In this regard, Simaje's Hwaunsi encounters limitation on its own, however, it has significance in that some hidden facts were revealed in the modern Chinese poetry history, which was captured with attention under the name of novelty, eccentricity and modernity.

• Nuclear Medicine and Molecular Imaging
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• v.41 no.1
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• pp.30-41
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• 2007

Purpose: Bone metastasis in breast cancer patients are usually assessed by conventional Tc-99m methylene diphosphonate whole-body bone scan, which has a high sensitivity but a poor specificity. However, positron emission tomography with $^{18}F-2-deoxyglucose$ (FDG-PET) can offer superior spatial resolution and improved specificity. FDG-PET/CT can offer more information to assess bone metastasis than PET alone, by giving a anatomical information of non-enhanced CT image. We attempted to evaluate the usefulness of FDG-PET/CT for detecting bone metastasis in breast cancer and to compare FDG-PET/CT results with bone scan findings. Materials and Methods: The study group comprised 157 women patients (range: $28{\sim}78$ years old, $mean{\pm}SD=49.5{\pm}8.5$) with biopsy-proven breast cancer who underwent bone scan and FDG-PET/CT within 1 week interval. The final diagnosis of bone metastasis was established by histopathological findings, radiological correlation, or clinical follow-up. Bone scan was acquired over 4 hours after administration of 740 MBq Tc-99m MDP. Bone scan image was interpreted as normal, low, intermediate or high probability for osseous metastasis. FDG PET/CT was performed after 6 hours fasting. 370 MBq F-18 FDG was administered intravenously 1 hour before imaging. PET data was obtained by 3D mode and CT data, used as transmission correction database, was acquired during shallow respiration. PET images were evaluated by visual interpretation, and quantification of FDG accumulation in bone lesion was performed by maximal SUV(SUVmax) and relative SUV(SUVrel). Results: Six patients(4.4%) showed metastatic bone lesions. Four(66.6%) of 6 patients with osseous metastasis was detected by bone scan and all 6 patients(100%) were detected by PET/CT. A total of 135 bone lesions found on either FDG-PET or bone scan were consist of 108 osseous metastatic lesion and 27 benign bone lesions. Osseous metastatic lesion had higher SUVmax and SUVrel compared to benign bone lesion($4.79{\pm}3.32$ vs $1.45{\pm}0.44$, p=0.000, $3.08{\pm}2.85$ vs $0.30{\pm}0.43$, p=0.000). Among 108 osseous metastatic lesions, 76 lesions showed as abnormal uptake on bone scan, and 76 lesions also showed as increased FDG uptake on PET/CT scan. There was good agreement between FDG uptake and abnormal bone scan finding (Kendall tau-b : 0.689, p=0.000). Lesion showed increased bone tracer uptake had higher SUVmax and SUVrel compared to lesion showed no abnormal bone scan finding ($6.03{\pm}3.12$ vs $1.09{\pm}1.49$, p=0.000, $4.76{\pm}3.31$ vs $1.29{\pm}0.92$, p=0.000). The order of frequency of osseous metastatic site was vertebra, pelvis, rib, skull, sternum, scapula, femur, clavicle, and humerus. Metastatic lesion on skull had highest SUVmax and metastatic lesion on rib had highest SUVrel. Osteosclerotic metastatic lesion had lowest SUVmax and SUVrel. Conclusion: These results suggest that FDG-PET/CT is more sensitive to detect breast cancer patients with osseous metastasis. CT scan must be reviewed cautiously skeleton with bone window, because osteosclerotic metastatic lesion did not showed abnormal FDG accumulation frequently.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.154-175
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• 2009

At the present state, studies on Gyeongbok palace are being done with history of architecture, records, and art. However, these studies have limits that they can only depend on existing buildings and record, which make it hard to research whole aspect of palaces. The foundation remains(Jeoksim) of Gyeongbok palace in the ground gives important clues that can fill the gaps of these studies. Thus I analysed jeoksim of Gyeongbok palace, assorted them by type, scale, material, and construction method. I examined jeoksim used by various types of building, and looked at changes by periods. Jeoksims are classified in 21 types. The foundation(jeoksim) varies according to types of buildings, building types and material of jeoksim also varies along the periods, and the fact proves certain peroid of time has its own jeoksim style in fashion. Jeoksims of Gyeongbok palace are divided into round-shape(I), rounded square-shape(II), rectangular-shape(III), square-shape(IV), and whole foundation of building(V) by the plane shape. They can be divided again into 21 types by construction techniques and materials used. During early Joseon(I), only three types of jeoksim; round-shape riprap jeoksim(1-1), II-1(rounded square-shape), II-2a(rounded square-shape riprap+roofingingtile brick), had been built, but as 19th century begun, all 21 types of jeoksim had built. In 19th century during Emperor Gojong, different types of jeoksim by periods were built, and especially different materials were used. During Gojong year 2(1865)~year 5(1868), in which Gyeongbok palace were rebuilt, 7 out of 10 types of jeoksim used piece of roofinging tile and brick mixture, in contrast, during Gojong year 10(1873)~13(1876), or 25(1888), 3 out of 5 types of jeoksim used sandy soil with mixture of plaster. Meanwhile palace buildings have different names by the class of owner and use such as Jeon, Dang, Hap, Gak, Jae, Heon, Nu, and Jeong, which were classified by types and buildings were built according to each level. With an analysis of jeoksim by its building types, I ascertained that jeoksim were built differently in accordance to building types(Jeon, Dang, Hap, Gak, Jae, Heon, Nu, and Jeong). By the limitation of present document, only some types of buildings such as Jeon, Dang, Gak, Bang were confirmed, as for Jeon and Gak, square-shape(IV) built with rectangular parallelepiped stone, and for Dang and Bang, rounded square-shape(IV) built with roofinginginging tile and riprap were commonly used. From the fact that other jeoksim with uncertain building names, were mostly built in early Joseon, we learn that round-shape riprap jeoksim(1-1) were commonly built. Therefore, the class of building was higher if the owner was in higher class, jeoksim is also considered to be built with the strongest and best material. And for Dang and Bang, rounded square-shape jeoksim were used, Dang has lots of II-2a (riprap + piece of roofing tile and brick rounded square-shape) type which mainly used riprap and piece of roofing tile and brick, but Bang has lots of II-2b (piece of roofing tile and brick+(riprap+piece of roofing tile and brick rounded square-shape), which paved piece of roofing tile and brick by 15~20cm above. These jeoksim by building types were confirmed to have changed its construction type by period. As for Jeon and Gak, they were built with round-shape riprap jeoksim(1-1) in early Joseon(14~15c), but in late Joseon(19c), various types of Jeoksim were built, especially square-shape(IV) were commonly built. For Dang, only changes in later Joseon were confirmed, jeoksim built in Gojong year 4(1867) mostly used mixture of riprap and piece of roofing tile and brick. In Gojong year 13(1876) or year 25(1888), unique type of plaster with sand and coal and soil layered jeoksim were built that are not found in any other building types. Through this study, I learned that various construction types of jeoksim and material were developed in later Joseon compare to early Joseon. This states that construction technique of building foundation of palace has upgraded. Above all, I learned jeoksim types are all different for various kinds of buildings. This tells us that when they constructed foundation of building, they used pre-calculated construction technique.