• Proceedings of the Korean Society for Technology of Plasticity Conference
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• 1995.10a
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• pp.102-108
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• 1995

Internal contact scheme between two free surfaces on one deforming body has been proposed by using the penalty method. It has been imposed to be internal boundary condition on two-dimensional thermo-viscoplastic finite element method so as to analyze one deforming body, which has two free surfaces penetrating each others. Analysis of side pressing with a circular void and a inclined elliptic hole have been carried out in order to verity the proposed contact scheme. A finite element code imposed internal boundary condition has been applied to two-dimensional analysis of free forging of large ingot with a void. Through the analysis, effects of working parameters in order to consolidate voids have been investigated.

• Journal of computational fluids engineering
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• v.12 no.1
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• pp.1-8
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• 2007

A code is developed using the hybrid Cartesian/immersed boundary method and it is applied to simulate flows around a three-dimensional deforming body. A new criterion is suggested to distribute the immersed boundary nodes based on edges crossing a body boundary. Velocities are reconstructed at the immersed boundary nodes using the interpolation along a local normal line to the boundary. Reconstruction of the pressure at the immersed boundary node is avoided using the hybrid staggered/non-staggered grid method. The developed code is validated through comparisons with other experimental and numerical results for the velocity profiles around a circular cylinder under the forced in-line oscillation and the pressure coefficient distribution on a sphere. The code is applied to simulate the flow fields around a plate whose tail is periodically flapping under a translation. The effects of the velocity and acceleration due to the deformation on the periodic shedding of pairs of tip vortices are investigated.

• Journal of the Society of Naval Architects of Korea
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• v.43 no.5 s.149
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• pp.538-549
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• 2006

A code is developed to simulate a viscous flow field around a deformable body using the hybrid Cartesian/immersed boundary method. In this method, the immersed boundary(IB) nodes are defined near the body boundary then velocities at the IB nodes are reconstructed based on the interpolation along the normal direction to the body surface. A new method is suggested to define the IB nodes so that a closed fluid domain is guaranteed by a set of IB nodes and the method is applicable to a zero-thickness body such as a sail. To validate the developed code, the vorticity fields are compared with other recent calculations where a cylinder orbits and moves into its own wake. It is shown the code can handle a sharp trailing edge at Reynolds number of $10^5$ under moderate requirements on girds. Finally the developed code is applied to simulate the vortex shedding behind a deforming foil with flapping tail like a fish. It is shown that the acceleration of fluids near the flapping tail contributes to the generation of the thrust for propulsion.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2001.11a
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• pp.85-89
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• 2001

Hamiltonian modeling approach has been extensively adopted for rigid body dynamics whereas its usage for deforming flexible continuum dynamics has been limited. A set of Hamilton＇s equations for flexible body motion with finite deformation has been derived and applied for a nonlinear impact problem.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.26-33
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• 2009

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of concealing, revealing, and deforming the body. Using �body�t o analyze the clothing form, my study develops a framework by which to classify the absence of physicality in fashion focusing on the deformation of the body parts. The absence of physicality denotes the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form refusing to subscribe to the traditional values that build on the balance and symmetry of the body, which opposes the sartorial convention and symbolism that results in the discord between signifiant and signifi? f clothing.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• Journal of computational fluids engineering
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• v.20 no.1
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• pp.1-9
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• 2015

A developed code is applied to simulate relative motion of floating bodies in a side-by-side arrangement, including effects of a fender and a hawser. The developed code is based on the flux-difference splitting scheme for immiscible incompressible fluids and the hybrid Cartesian/immersed boundary method. To validate the developed code for free surface flows around deforming boundaries, the water wave generation is simulated, which is caused by bed movement. The computed wave profile and time histories of wave elevation are compared with other experimental and computational results. The effects of a fender and a hawser are modeled by asymmetric force acting on the floating bodies according to a relative displacement with the bounds, in which the fender and the hawser exert no force on the bodies. It has been observed that the floating body can be accelerated by a gap flow due to a phase difference caused by the free surface. Grid independency is established for the computed time history of the body velocity, based on three different size grids.