• Journal of the Korean housing association
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• v.15 no.5
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• pp.21-32
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• 2004

The purpose of this study is to interpret Gaudi's philosophy of architecture through an analysis of the design characteristics in his remodeling of Casa Battlo. A review of the literature related to Casa Battlo as well as a field study in Barcelona to see the building were made for this study. The conclusions were as follows; Casa Battle is one of the best examples of Gaudi's attempts at creating a surreal atmosphere and should be evaluated in light of the following considerations: 1) Casa Battle as a remodeled house presented its own restrictions to Gaudi that he overcame by introducing characteristic design elements into the remodeling process; 2) the achievement, a perfect sculpture expressing continuity through a gorgeous colour scheme using different materials and design motifs with a dynamic spiral shape, originated from Gaudi's observations of nature and his experiences working in modeling studios; 3) a visualized embodiment of Gaudi's naturalism and functionalism through the impression of perpetual movement and continuity as formative symbols of genesis, life, death, and transmigration of the soul, originated from Gaudi's personal experiences of the early deaths of several close family members; 4) the design is meant to show the same processes of creation used by nature rather than a mere imitation of nature. Gaudi was not only a person dedicated obsessively to his profession as an architect, but also a rationalist fundamentally in the way he operated. It was expected that this study could be employed as a small stimulus to challenge the paradigm of housing remodeling projects -a hot issue in today's Korea- especially in their philosophical aspect.

• Journal of Fashion Business
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• v.6 no.1
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• pp.102-115
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• 2002

The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue's clothing in the light of linked solution, and to compare the characterizations of style of Greek statue's clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue's clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue's clothing. The internal meaning of style of Greek art and Greek statue's clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue's clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.7
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• pp.1635-1641
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• 2009

In this study, we have prepared plastic lenses with both photochromic and hard properties by hard coating, and evaluated their optical properties and surface characteristics. Photochromic effects could be observed on the UV spectra of the closed forms and the visible spectra of the open forms. Visible light transmittance of photochromic lenses was from 83.44% for graphite(GP) to 85.15% for blue(BL) in colourless state and from 71.10% for red(RE) to 79.98% for yellow(YE) in colour state. Red photochromic lens was higher in optical density(${\Delta}$OD) and color difference(${\Delta}$$E^{\ast}_\;{ab}$) than the others. Photochromic lenses applied by hard coating showed good adhesion, hot water resistance, chemical resistance and surface appearance. Also, compared to the uncoated lens, hardness and abrasion resistance were increased. Consequently, this coating system could impart functional properties such as photochromic and hard coating property onto ophthalmic lenses.

• Journal of Mushroom
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• v.13 no.3
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• pp.217-222
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• 2015

This study was conducted to obtain a growth correlation of basal information from the development of disease resistant Flammulina velutipes cultivars through back-crossing between the strains of wild-type brown monokaryon 4019-20 and the derivative of commercial quality white monokaryons 3. The two strains were selected to back-cross for further enhancing their latent attributes and growth characteristics. The parents of 4019-$20{\times}M3$ back-crossed to reproduce $F_1$, M3-Sn. Using $F_1$, M3-Sn procured and isolated into 94 monokaryon strains. Further examination of growth characteristics carried out by back-crossing between M3 and $BC_1F_1$ from M3-n dikaryon. Monokaryon exhibited an irregular growth pattern and demonstrated to be sluggish development in the sawdust medium. However $BC_1F_1$(M3-n) dikaryon strains confirmed mostly regular growth pattern and demonstrated ordinary growth in the sawdust medium. The fruitbody of $BC_1F_1$ confirmed as light-brown colour to be the dominant gene. The colour distributions of fruitbody, $BC_1F_1$, resulted as follows; 7% of dark brown, 25% of brown, 27% of light brown, 16% of ivory and 25% of white. The ratio of the other color to white showed 3 to 1 which suggested two major genes were related to fruitbody color.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.123-131
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• 2020

This study proposes a real-time rendering algorithm for lighting when each of more than 100,000 moving particles exists as a light source. Two 3D textures are used to dynamically determine the range of influence of each light, and the first 3D texture has light color and the second 3D texture has light direction information. Each frame goes through two steps. The first step is to update the particle information required for 3D texture initialization and rendering based on the Compute shader. Convert the particle position to the sampling coordinates of the 3D texture, and based on this coordinate, update the colour sum of the particle lights affecting the corresponding voxels for the first 3D texture and the sum of the directional vectors from the corresponding voxels to the particle lights for the second 3D texture. The second stage operates on a general rendering pipeline. Based on the polygon world position to be rendered first, the exact sampling coordinates of the 3D texture updated in the first step are calculated. Since the sample coordinates correspond 1:1 to the size of the 3D texture and the size of the game world, use the world coordinates of the pixel as the sampling coordinates. Lighting process is carried out based on the color of the sampled pixel and the direction vector of the light. The 3D texture corresponds 1:1 to the actual game world and assumes a minimum unit of 1m, but in areas smaller than 1m, problems such as stairs caused by resolution restrictions occur. Interpolation and super sampling are performed during texture sampling to improve these problems. Measurements of the time taken to render a frame showed that 146 ms was spent on the forward lighting pipeline, 46 ms on the defered lighting pipeline when the number of particles was 262144, and 214 ms on the forward lighting pipeline and 104 ms on the deferred lighting pipeline when the number of particle lights was 1,024766.

• Journal of Conservation Science
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• v.32 no.3
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• pp.333-343
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• 2016

A study on conservation of outdoor painted sculptures has begun to receive attention as increasing numbers of the sculptures, but it is still in an early stage in South Korea. In the case of a painted outdoor object which has been exhibited in National Museum of Modern and Contemporary Art (MMCA), 'Black nana' produced by Niki de Saint Phalle in 1964, deterioration was observed, such as flaking and discolouration of paint layers due to ultraviolet light and a sudden temperature change during an outdoor exhibition. For this reason, prior to treatment of the sculpture, to find out the painting techniques and materials applied, cross section, FT-IR, Raman and Py-GC/Mass were conducted. As a result, the type and colour of the paint agree with results of the other studies as well as deterioration pattern. It is expected that the results of this study will be utilized for treatment proposal and conservation material selection of 'Black nana'. In addition, to determine the artist's intention of the artist, cooperation with the foundation of Niki de Saint Phalle and artist's assistants will be carried out.

• Journal of the Mineralogical Society of Korea
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• v.28 no.3
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• pp.221-231
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• 2015

Precambrian Jirisan gneiss complex suffered retrograde metamorphism ranging from granulite facies to the amphibolite facies and/or greenschist facies. Intrusive anorthositic rocks in gneiss complex are influenced by late metamorphism. Mafic mineral in anorthositic rock composed mainly of amphiboles, which can anticipate the information about metamorphic conditions and metamorphic facies. Amphiboles from anorthositic rock show subhedral to anhedral in shape and mostly blueish green and/or green in colour in plane polarized light. Some of brownish amphiboles show zonal texture with brownish to blueish green in color from core to rim. Reaction parts in clinopyroxene which exchange with amphibole. It suggests retrograde metamorphism and/or alteration. Amphiboles composing anorthositic rocks can be classified into two types depending on the size and occurrence of amphibole. The first type is microcrystalline amphibole occurring matrix [Group I: ferrohornblende]. The second type is amphibole with 1 mm or larger in size, which is usually occurred in the boundary between opaque mineral and plagioclase [Group II: ferropargasite]. Electron microscopic analyses base on the $Al^{vi}$ composition in amphiboles suggest that the metamorphic pressure of anorthositic rock was low with 5 kbar or less. Ti compositional range in amphibole and representing hornblende+ plagioclase+garnet+biotite+chlorite mineral assemblage suggest that metamorphic facies of anorthositic rock is in amphibolite facies.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.25 no.4
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• pp.153-159
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• 2015

Inorganic pigments have been received a great attention for various applications including paint, glazed ceramic ink, art tile, and building exterior due to their excellent thermal and chemical stability. Traditionally, the compositions of $PbCrO_4$, CdS and CdSe have been widely used as a yellow inorganic pigment. However, the use of these compositions has been restricted in recent years, because they contain harmful elements such as Cd, Cr, Pb and Se. In this study, new environment-friendly ceria-based pigment was synthesized using solid state reaction. Crystal structure and morphology of the obtained $Ce_{1-x}Zr_xBi_yO_{2-y/2}$ yellow pigment were analyzed using XRD and SEM, respectively. Substitutional effect of Zr and Bi on the pigment color was analyzed using UV-vis. spectrophotometer and CIE $L^*a^*b^*$ analysis. The crystal structure of the obtained pigments was dependent on the calcination temperature. The color characteristics and absorption band of the pigments were dependent on the calcination temperature and Zr, Bi contents. As a result, all the obtained yellow pigments showed the effective absorption ranged from ultraviolet to visible light, and $Ce_{0.44}Zr_{0.36}Bi_{0.20}O_{0.19}$ (x = 0.36, y = 0.20) pigment showed the most brilliant yellow color.

• Journal of Sericultural and Entomological Science
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• v.28 no.1
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• pp.72-78
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• 1986

The studies were performed to investigate the optimum conditions for tannic processing of silk by use Chinese Gallotannin and synthesized tannic acid, which are aimed at weighting, dyeing and physical properties of tannin treated silk. 1. It was reasonable that the concentration of tannin solution is 30 grams per liter of Chinese Gallotannin, 15 grams per liter of tannic acid for the efficient weighting of processed silk. The temperature and time for tannin treatment was optimum at 80$^{\circ}C$, 60 minutes and the acidity of tannin solution at pH 2 to 3. 2. In dyeing the tannintreated silk by Acid dye Orange II, the temperature and time was reasonable at 60$^{\circ}C$, 90 minutes to control the desorption of tannin components weighted onto silk. 3. The colour differences ($\Delta$E) of dyed silk fabric by soaping could be remarkably narrowed by tannin treatment, resulting in improving the washing fastness of tannin treated silk by two grades more than that of untreated one. 4. The light fastness of tannin treated silk could be drastically improved by reducing the dye-loss of dyed silk fabric which was coused from the Ultra-violet ray irrdiation. 5. The rubbing fastness and water repellency of tannin treated silk was at the same level with that of untreated one. However, the Drape coefficient of tannin treated silk was decreased more than that of untreated one, which is closely related with fabric softness and dressing appearence.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.