• Structural Engineering and Mechanics
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• v.3 no.6
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• pp.529-539
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• 1995

The rigid-plastic yield-line analysis of isotropically reinforced concrete slabs acting in conjunction with torsionally weak supporting beams is developed as the lower-bound form of a linear programming formulation. The analysis is extended to consider geometric variation of chosen yield-line patterns by the technique of sequential linear programming. A strategy is followed of using a fine potential yield-line mesh to identify possible collapse modes, followed by analysis using a coarser, simplified mesh to refine the investigation and for use in conjunction with geometric optimization of the yield-line system. The method is shown to be effective for the analysis of three slabs of varying complexity. The modes detected by the fine and simplified analyses are not always similar but close agreement in load factors has been consistently obtained.

• 제어로봇시스템학회:학술대회논문집
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• 2000.10a
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• pp.311-311
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• 2000

We propose a DP-based formulation for matching line patterns by defining a robust and stable geometric representation that is based on the conceptual organizations. Usually, the endpoint proximity and collinearity of image lines, as two main conceptual organization groups, are useful cues to match the model shape in the scene. As the endpoint proximity, we detect junctions from image lines. We then search for junction groups by using geometric constraint between the junctions. A junction chain similar to the model chain is searched in the scene, based on a local comparison. A Dynamic Programming-based search algorithm reduces the time complexity for the search of the model chain in the scene. Our system can find a reasonable matching, although there exist severely distorted objects in the scene. We demonstrate the feasibility of the DP-based matching method using both synthetic and real images.

• The Journal of Korea Robotics Society
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• v.3 no.2
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• pp.106-111
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• 2008

This paper presents a decentralized coordination for a small-scale mobile robot teams performing a task through cooperation. Robot teams are required to generate and maintain various geometric patterns adapting to an environment and/or a task in many cooperative applications. In particular, all robots must continue to strive toward achieving the team's mission even if some members fail to perform their role. Toward this end, given the number of robots in a team, an effective coordination is investigated for decentralized formation control strategies. Specifically, all members are required first to reach agreement on their coordinate system and have an identifier (ID) for role assignment in a self-organizing way. Then, employing IDs on individual robots within a common coordinate system, a decentralized neighbor-referenced formation control is realized to generate, keep, and switch between different geometric shapes. This approach is verified using an in-house simulator and physical mobile robots. We detail and evaluate the formation control approach, whose common features include self-organization, robustness, and flexibility.

• Structural Engineering and Mechanics
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• v.86 no.3
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• pp.361-371
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• 2023

Boundary condition is an important factor affecting the vibration characteristics of structures, under different boundary conditions, structures will exhibit different vibration behaviors. On the basis of the previous work, this paper extends to the nonlinear resonance behavior of axially moving graphene platelets reinforced metal foams (GPLRMF) plates with geometric imperfection under different boundary conditions. Based on nonlinear Kirchhoff plate theory, the motion equations are derived. Considering three boundary conditions, including four edges simply supported (SSSS), four edges clamped (CCCC), clamped-clamped-simply-simply (CCSS), the nonlinear ordinary differential equation system is obtained by Galerkin method, and then the equation system is solved to obtain the nonlinear ordinary differential control equation which only including transverse displacement. Subsequently, the resonance response of GPLRMF plates is obtained by perturbation method. Finally, the effects of different boundary conditions, material properties (including the GPLs patterns, foams distribution, porosity coefficient and GPLs weight fraction), geometric imperfection, and axial velocity on the resonance of GPLRMF plates are investigated.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.1-10
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• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• Communications of Mathematical Education
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• v.37 no.4
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• pp.697-715
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• 2023

The purpose of this study is to investigate the overall understanding of patterns by second- and third-grade elementary school students. For this purpose, 12 classes per grade were selected from 10 schools, and a 46-item test was administered to 216 second graders and 223 third graders. The results of the study showed that in most cases, there was no statistically significant difference in the understanding of patterns between second- and third-graders. The exception occurred regarding the 10 items of identifying the structure of a pattern: Second-graders did better than third-graders regarding 8 items, whereas vice versa regarding 2 items. The items that both second- and third-graders struggled with included finding multiple components of a given pattern, comparing the structures between patterns, and guessing a particular term in an open pattern. Based on these findings, this paper discusses second- and third-graders' understanding of patterns and suggestions for further instruction.