• 한국전산유체공학회:학술대회논문집
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• 한국전산유체공학회 2009년 춘계학술대회논문집
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• pp.19-19
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• 2009

Dynamic Stall is a flow phenomenon which occurs on the retreating side of helicopter rotor blades during forward flight. It also occurs on blades of stall regulated wind turbines under yawing conditions as well as during gust loads. Time scales occurring during this process are comparable on both helicopter and wind turbine blades. Dynamic Stall limits the speed of the helicopter and its manoeuvrability and limits the amount of power production of wind turbines. Extensive numerical as well as experimental investigations have been carried out recently to get detailed insight into the very complex flow structures of the Dynamic Stall process. Numerical codes have to be based on the full equations, i.e. the Navier-Stokes equations to cover the scope of the problems involved: Time dependent flow, unsteady flow separation, vortex development and shedding, compressibility effects, turbulence, transition and 3D-effects, etc. have to be taken into account. In addition to the numerical treatment of the Dynamic Stall problem suitable wind tunnel experiments are inevitable. Comparisons of experimental data with calculated results show us the state of the art and validity of the CFD-codes and the necessity to further improve calculation procedures. In the present paper the phenomenon of Dynamic Stall will be discussed first. This discussion is followed by comparisons of some recently obtained experimental and numerical results for an oscillating helicopter airfoil under Dynamic Stall conditions. From the knowledge base of the Dynamic Stall Problems, the next step can be envisaged: to control Dynamic Stall. The present discussion will address two different Dynamic Stall control methodologies: the Nose-Droop concept and the application of Leading Edge Vortex Generators (LEVoG's) as examples of active and passive control devices. It will be shown that experimental results are available but CFD-data are only of limited comparison. A lot of future work has to be done in CFD-code development to fill this gap. Here mainly 3D-effects as well as improvements of both turbulence and transition modelling are of major concern.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.87-94
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• 2014

Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.

• Architectural research
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• 제15권2호
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• pp.87-94
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• 2013

Throughout the history of architecture, sometimes the main focus of design was determined by a particular visual representation method, and other times a particular form of visual representation method was required by perception of a particular architectural issue or an architectural form or idea. That is why the visual representation method of architects becomes an important means of reading the flow of idea and thinking behind architecture. This study is an investigation on the relation between architectural thinking and visual representation method expressed through the conceptual drawings by avant-garde architects of the 1970s and 80s, a period of the emergence of postmodernism. Rather than proving the objective reality regarded important by traditional architectural drawing, attempts are made to express the design concept in which the project has its base. Such interpretation and explanation regarding the concept become the main interest of the drawing. It is not that the architecture itself was not expressed in the contents, but it may not be the main subject of expression in the drawing. The value of architectural drawing recovers its value as an art work in itself, as a means of communication, and as an important conceptual tool in the design process. It can be seen that the visual representation method in postmodern architectural drawings is breaking free of the traditional objective depiction of matter and is changing and developing as a design tool of the architect.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제13권7호
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• pp.3599-3619
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• 2019

In human activity recognition system both static and motion information play crucial role for efficient and competitive results. Most of the existing methods are insufficient to extract video features and unable to investigate the level of contribution of both (Static and Motion) components. Our work highlights this problem and proposes Static-Motion fused features descriptor (SMFD), which intelligently leverages both static and motion features in the form of descriptor. First, static features are learned by two-stream 3D convolutional neural network. Second, trajectories are extracted by tracking key points and only those trajectories have been selected which are located in central region of the original video frame in order to to reduce irrelevant background trajectories as well computational complexity. Then, shape and motion descriptors are obtained along with key points by using SIFT flow. Next, cholesky transformation is introduced to fuse static and motion feature vectors to guarantee the equal contribution of all descriptors. Finally, Long Short-Term Memory (LSTM) network is utilized to discover long-term temporal dependencies and final prediction. To confirm the effectiveness of the proposed approach, extensive experiments have been conducted on three well-known datasets i.e. UCF101, HMDB51 and YouTube. Findings shows that the resulting recognition system is on par with state-of-the-art methods.

• 문화기술의 융합
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• 제7권3호
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• pp.215-222
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• 2021

뒤샹이 레디메이드를 선택한 주요 요인은 망막적 회화의 부정, 그리고 그의 내면에 자리하고 있는 변화에 대한 욕망과 유동적 사유 때문이었다. 뒤샹의 그러한 사유는 레디메이드 작품에서 잘 드러난다. 그의 레디메이드 초기 작품 <자전거 바퀴> 는 존재자들과 자본과의 상관관계를 표현한 것으로 그 본질은 자본과 존재자들의 욕망을 염두에 둔 것이다. 이것은 질 들뢰즈와 펠릭스 가타리가 사회의 변혁과 창조적 모델로 제시하였던 욕망 또는 욕망기계와도 연관된다. 그런데 <자전거 바퀴> 가 단순하게 자본과 존재자들의 욕망 관계로 끝나는 것은 아니다. 존재자들이 지닌 욕망이 긍정적 욕망으로 전환했을 때는 그것이 끊임없이 반복적이고 유동적이며 새로운 것을 창안·창조한다. 뒤샹은 이러한 긍정적 욕망을 레디메이드 <샘> 을 통해 전달하고자 했다. 뒤샹이 변기라는 기성품을 <샘> 이라는 개념으로 창조시켰던 것은 그에게 유동하는 욕망 자리하고 있기 때문이며, 이것은 정착하지 않고 끊임없이 유동하면서 새로운 풍경을 찾아다니는 노마드의 속성과 연관된다. 이러한 그의 사유는<여행 가방 속 상자>라는 작품에서 확연하게 드러난다. 뒤샹이 <여행 가방 속 상자> 작품을 제작하게 된 동기는 그의 유동적 사유가 주요했다. 그런데 이 작품은 장소와 배치라는 두 가지 요소의 향방에 따라 다양한 상황이 수시로 전개될 수 있다. 여기서 장소는 유동성, 배치는 가변성 또는 욕망을 담보하고 있다. 유동성은 질 들뢰즈와 펠릭스 가타리에 의하면 흐름과 변주(變奏)의 특성을 지닌 노마드인 것이며, 욕망은 생산성 즉 생성 또는 창조라 할 수 있다. 따라서 <여행 가방 속 상자> 는 노마드 그 자체라 할 수 있다. 질 들뢰즈와 펠릭스 가타리의 노마드는 끊임없이 유동하면서 새로운 세계를 창조하는 특성을 가지고 있다. 이것은 한곳에 정착하기를 거부했었던 그리고 기존 질서로부터 탈주하여 새로운 예술세계를 창조했었던 뒤샹의 사유와 부합한다. 이 노마드는 혁명가, 차이를 긍정하고 생성을 만들어 내는 창조자라는 할 수 있다. 노마드는 기존 질서에 대한 저항의 개념도 담고 있다. 들뢰즈와 가타리는 이 저항의 모델로 전쟁기계라는 것을 제시하였다. 그러므로 뒤샹과 그의 레이메드 작품 등은 모두 전쟁기계로 볼 수 있다.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.101-114
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• 2016

In the center of our ancestor's culture, there were poetry, calligraphy, and painting. Above all, poetry was the heart of the culture involved in everyday life. The beauty of poetry was not limited to appreciation of the poetry but it influenced calligraphy, painting, seals, music, architecture and even how the ancestors viewed their lives. Categories of poetry(詩品, CP hereafter) is the poetry written to deliberate the style of poems and its influence went beyond the fields of calligraphy and painting. Even now, our architecture reflects the sentimental influences and values of CP. In order to understand the attitude, mind, and the world view of the architects in the past, comprehensive and deep understanding of their philosophy as well as their cultural and social norms is needed. In this paper, CP is used as the means to investigate and develop such understanding of our ancestors' philosophy and culture. This paper also intends to investigate how the seclusive thinking of Neo-Confucianism is reflected in CP and the overall literature. In addition, this paper aims to examine the trace of CP in traditional architecture as well as the relationships and the flow among various styles of CP. This study therefore serves as an important base in understanding the ancestor's philosophy that pursued balance between life and art, reason and emotion, study and practice, and their architectural expression. It is also expected that this study would work as the groundwork to regain our traditional culture identity.

• Tribology and Lubricants
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• 제34권3호
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• pp.75-83
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• 2018

Microturbomachinery (< 250 kW) using gas foil bearings can function without oil lubricants, simplify rotor-bearing systems, and demonstrate excellent rotordynamic stability at high speeds. State-of-the-art technologies generally use bump foil bearings or leaf foil bearings due to the specific advantages of each of the two types. Although these two types of bearings have been studied extensively, there are very few studies on leaf-bump foil bearings, which are a combination of the two aforementioned bearings. In this work, we illustrate a simple mathematical model of the leaf-bump foil bearing with leaf foils supported on bumps, and predict its static and dynamic performances. The analysis uses the simple elastic model for bumps that was previously developed and verified using experimental data, adds a leaf foil model, and solves the Reynolds equation for isothermal, isoviscous, and ideal gas fluid flow. The model predicts that the drag torques of the leaf-bump foil bearings are not affected significantly by static load and bearing clearance. Due to the preload effect of the leaf foils, rotor spinning, even under null static load, generates significant hydrodynamic pressure with its peak near the trailing edge of each leaf foil. A parametric study reveals that, while the journal eccentricity and minimum film thickness decrease, the drag torque, direct stiffness, and direct damping increase with increasing bump stiffness. The journal attitude angle and cross-coupled stiffness remain nearly constant with increasing bump stiffness. Interestingly, they are significantly smaller compared to the corresponding values obtained for bump foil bearings, thus, implying favorable rotor stability performance.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권4호
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• pp.355-362
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• 2017

무인항공기는 최근 공간정보 분야 수요 증가에 따라 측량, 지도제작, 공간분석 등 다양한 분야에 활용되고 있으며, 신속한 데이터 취득이 가능하고, 경제성이 뛰어나기 때문에 많은 주목을 받고 있다. 본 연구에서는 무인항공사진측량을 도시방재정보 구축 분야에 적용하고자 하였다. 연구대상지에 대한 PPK(Post Processed Kinematic) GNSS 기반의 무인항공영상 취득 및 데이터 처리를 통해 수치표고모델과 정사영상을 생성하고, 결과물을 이용한 공간분석을 수행하였다. 또한 PPK GNSS 방법을 적용한 무인항공사진측량의 업무흐름을 기존 방법과 비교하였다. 연구를 통해 대상지역에 대한 도시방재정보를 효과적으로 구축할 수 있었으며, 기존 무인항공사진측량과 비교를 통해 PPK GNSS 방법의 효율성을 제시할 수 있었다. 향후 도시방재정보 구축 분야의 무인항공사진측량 활용에 있어 PPK GNSS 기법을 활용한다면 신속한 데이터 취득 및 처리로 관련 업무의 효율성을 크게 개선시킬 수 있을 것으로 기대된다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 공연문화연구
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• 제35호
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• pp.93-123
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• 2017

한국 민속춤의 정수인 승무는 춤의 연원이나 유래, 춤의 명칭과 복식을 볼 때 불교와 깊은 영향관계를 가지고 오랜 세월 변화 발전되어 온 춤이다. 현재 주로 추어지고 있는 승무는 장삼춤과 북춤의 구성으로 고착되어 있으나, 일제강점기의 승무는 그 역사성과 다양한 유래설 만큼이나 여러 양상의 승무를 유추해 볼 수 있다. 1940년을 전후해서 해주권번의 사범이었던 장양선은 양소운을 통해 <성인인상무>를 작품화했다. 2010년 '양소운 추모공연'에서 추어진 <성인인상무>의 영상을 분석해 본 결과, 첫째, 이 춤은 춤의 제목에서 전달하고자 하는 주제가 뚜렷하고, 승무의 유래설 중에서 불제자가 수도 중에 번뇌하고 타락했다가 다시 불교에 회귀한다는 기원설을 내포하고 있음을 확인할 수 있다. 둘째, 장삼춤 - 북놀이 - 바라춤 - 허튼춤 - 회심곡 - 귀의로 이어지는 과정은 작품의 주제의식을 순차적으로 잘 보여주고 있었다. 셋째, 불교의식무용인 바라무, 민속적 특징인 개성과 즉흥성이 강한 허튼춤, 불교음악인 회심곡 등 내용과 그 전개에 따라 여러 표현방법이 결합한 형식이었다. 이는 20세기 초 승무를 무대화 내지는 작품화하고자 했던 흐름을 잘 반영하고 있음을 알 수 있었다. <성인인상무>는 현재 장삼춤과 북춤만의 장대한 형식의 승무와 비교했을 때, 내용면에서는 본래 승무가 담고자 했던 의미를 살펴볼 수 있었고, 형식적인 측면에서는 악가무와 극적 요소가 결합된 다양성을 되돌아보게 한다. 미래지향적으로 발전할 수 있는 승무를 위해 많은 시사점을 제시하고 있다는 점에서 본 연구의 의의가 있다고 하겠다.