• Journal of the Korea Institute of Information and Communication Engineering
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• v.11 no.10
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• pp.1930-1936
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• 2007

Electronic Navigational Charts(ENCs) are official nautical charts which are equivalent to paper charts with supplementary information. Although their main purpose is to be used for the safe navigation of ships, they also contain much information on coasts and seas which may be interesting to ordinary people. However, there is no easy way to access them because of their specialized data format, access method and visualization. This paper proposes m implementation of SVG for the access and services of ENCs. SVG(Scalable Vector Graphic) makes it possible to make use of Vector graphics for map services in basic internet browsing environment. Implementation of SVG for ENC applications by this research is free of special server side GIS mapping system and client side extra technology. The Implementation of SVG for ENC Applications can be summarized as follows: Firstly, SVG provides spatial information to possess searching engine to embody SVG map. Secondly SVG can provide high-quality vector map graphics and interactive facility without special Internet GIS system. It makes it possible to use services with very low cost. Thirdly, SVG information service targeting on maritime transportation can be used as template, so it can be used dynamically any other purpose such as traffic management and vessel monitoring. Many good characteristics of SVG in mapping at computer screen and reusability of SVG document provide new era of visualization of marine geographic information.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.39 no.2
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• pp.93-101
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• 2021

Recently, with the urban redevelopment and the spread of the planned cities, there is increasing interest in the wind environment, which is related not only to design of buildings and landscaping but also to the comfortability of pedestrians. Numerical analysis for wind environment prediction is underway in many fields, such as dense areas of high-rise building or composition of the apartment complexes, a precisive 3D building model is essentially required in this process. Many studies conducted for wind environment analysis have typically used the method of creating a 3D model by utilizing the building layer included in the GIS (Geographic Information System) data. These data can easily and quickly observe the flow of atmosphere in a wide urban environment, but cannot be suitable for observing precisive flow of atmosphere, and in particular, the effect of a complicated structure of a single building on the flow of atmosphere cannot be calculated. Recently, drone photogrammetry has shown the advantage of being able to automatically perform building modeling based on a large number of images. In this study, we applied photogrammetry technology using a drone to evaluate the flow of atmosphere around two buildings located close to each other. Two 3D models were made into an automatic modeling technique and manual modeling technique. Auto-modeling technique is using an automatically generates a point cloud through photogrammetry and generating models through interpolation, and manual-modeling technique is a manually operated technique that individually generates 3D models based on point clouds. And then the flow of atmosphere for the two models was compared and analyzed. As a result, the wind environment of the two models showed a clear difference, and the model created by auto-modeling showed faster flow of atmosphere than the model created by manual modeling. Also in the case of the 3D mesh generated by auto-modeling showed the limitation of not proceeding an accurate analysis because the precise 3D shape was not reproduced in the closed area such as the porch of the building or the bridge between buildings.

• Journal of the Korean Society of Marine Environment & Safety
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• v.28 no.2
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• pp.307-313
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• 2022

As the development of renewable energy expands internationally to cope with global warming and climate change, the share of wind power generation has been gradually increasing. Although wind farms can produce electric power for 24 h a day compared to solar power plants, Their interfere with the operation of nearby radars or communication equipment must be analyzed because large-scale wind power turbines are installed. This study analyzed whether a land radio station can receive sufficient signals when a ship sailing outside the offshore wind farm transmits distress signals on the VHF band. Based on the geographic information system digital map around the target area, wind turbine CAD model, and wind farm layout, the area of interest and wind farm were modeled to enable numerical analysis. Among the high frequency analysis techniques suitable for radio wave analysis in a wide area, a dedicated program applying physical optics (PO) and shooting and bouncing ray (SBR) techniques were used. Consequently, the land radio station could receive the electromagnetic field above the threshold of the VHF receiver when a ship outside the offshore wind farm transmitted a distress communication signal. When the line of sight between the ships and the land station are completely blocked, the strength of the received field decreases, but it is still above the threshold. Hence, although a wind farm is a huge complex, a land station can receive the electromagnetic field from the ship's VHF transmitter because the wave length of the VHF band is sufficiently long to have effects such as diffraction or reflection.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.30 no.3
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• pp.241-247
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• 2012

The national geodetic reference frame of Korea switched to the International Terrestrial Reference Frame (ITRF) in 2003. In order to study the land area changes, we calculated the entire land area of Korea using the administrative boundaries of census data provided by Statistics Korea. The standard transformation procedure by the National Geographic Information Institute (NGII) was followed. The Transverse Mercator (TM) projected coordinates were transformed into the GRS80-based world geodetic reference frame, and the ellipsoidal and the projected areas were calculated. The provinces that range over two projection origins were divided into two polygons and projected using appropriate origins. After the transformation, all boundaries were shifted in the northwestern direction, resulting in a decreased area of $1.36km^2$ (about 0.0013%) on the projected plane. Moving the boundaries into a high latitude area cancels out the effect of the enlarged ellipsoid. In addition, the rate of change shows that a higher-latitude province is more sensitive to the shift of the boundaries. The data by Statistics Korea is significantly different from those of the Ministry of Land, Transport and Maritime Affairs (MLTM), thus it is urgently recommended that the data are integrated and unified.

• Journal of the Korean Society for Marine Environment & Energy
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• v.13 no.3
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• pp.135-150
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• 2010

At the Intergovernmental Meeting held in 1972, the London Convention was adopted to prevent marine pollution from dumping of wastes and other matter. After that, at the special meeting held at the Headquarters of the International Maritime Organization in 1996, the London Convention was revised to consider advances in technology of treatment and disposal of wastes and to reflect changes in understanding of marine environment and then the London Protocol was concluded. The London Protocol states more concrete management system for ocean dumping than the London Convention and also provides that the Meeting of Contracting Parties shall establish those procedures and mechanisms necessary to assess and promote compliance with the Protocol. With the London Protocol in force since 24 March 2006, the Meeting of Contracting Parties adopted the 'Compliance Procedures and Mechanisms (CPM) pursuant to Article 11 of the 1996 Protocol to the London Convention 1972' and established the Compliance Group in 2007. According to the CPM, members of the Compliance Group shall be nominated by Contracting Parties, based on equitable and balanced geographic representation of the five Regional Groups of the United Nations, and elected by the Meeting of Contracting Parties. In 2009, the Republic of Korea nominated a member of the Compliance Group to be subsequently elected by the Meeting of Contracting Parties with the approval of other states in Asia Group. Through the United Nations Regional Group System based on geographical identity or political affinity, Contracting Parties to the London Protocol are expected to form a voting bloc or to exchange information in meetings on the London Protocol. In this sense, it is noteworthy that the London Protocol introduced marine environmental management system for comprehensive prohibition of ocean dumping with exception of the so-called 'reverse-list' which had been earlier adopted by the 'Convention for the Protection of the Marine Environment of the North-East Atlantic, 1992 (OSPAR)' whose contracting parties belonged to Western European and Other States Group. In recent years, the jurisdiction of London Protocol has been extended to protect and preserve the marine environment from all sources of pollution. This will make the United Nations Regional Group System play more important roles in the activities associated with the London Protocol. For this reason, this article has considered characteristics of the United Nations Regional Group System and has analyzed influences of this Regional Group System in meetings on the London Protocol. This could provide preliminary information for the Republic of Korea to give due consideration to the United Nations Regional Group System on the activities associated with the London Protocol.

• Korean Journal of Remote Sensing
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• v.36 no.5_2
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• pp.867-879
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• 2020

As the era of space technology utilization is approaching, the launch of CAS (Compact Advanced Satellite) 500-1/2 satellites is scheduled during 2021 for acquisition of high-resolution images. Accordingly, the increase of image usability and processing efficiency has been emphasized as key design concepts of the CAS 500-1/2 ground station. In this regard, "CAS 500-1/2 Image Acquisition and Utilization Technology Development" project has been carried out to develop core technologies and processing systems for CAS 500-1/2 data collecting, processing, managing and distributing. In this paper, we introduce the results of the above project. We developed an operation system to generate precision images automatically with GCP (Ground Control Point) chip DB (Database) and DEM (Digital Elevation Model) DB over the entire Korean peninsula. We also developed the system to produce ortho-rectified images indexed to 1:5,000 map grids, and hence set a foundation for ARD (Analysis Ready Data)system. In addition, we linked various application software to the operation system and systematically produce mosaic images, DSM (Digital Surface Model)/DTM (Digital Terrain Model), spatial feature thematic map, and change detection thematic map. The major contribution of the developed system and technologies includes that precision images are to be automatically generated using GCP chip DB for the first time in Korea and the various utilization product technologies incorporated into the operation system of a satellite ground station. The developed operation system has been installed on Korea Land Observation Satellite Information Center of the NGII (National Geographic Information Institute). We expect the system to contribute greatly to the center's work and provide a standard for future ground station systems of earth observation satellites.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.