• Earthquakes and Structures
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• v.9 no.6
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• pp.1153-1179
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• 2015

This paper focuses on presenting modeling considerations and insight into the performance of typical straight, curved, and skewed box-girder bridges in California which form the bulk of the bridge inventory in the state. Three case study bridges are chosen: Meloland Road Overpass, Northwest Connector of Interstate 10/215 Interchange, and Painter Street Overpass, having straight, curved, and skewed superstructures, respectively. The efficacy of nonlinear dynamic analysis is established by comparing the response from analytical models to the recorded strong motion data. Finally insights are provided on the component behavioral characteristics and shift in vulnerability for each of the bridge types considered.

• Journal of the Korea Society for Simulation
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• v.14 no.3
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• pp.67-77
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• 2005

Logistics network of the enterprise is defined to determine the optimal node and link considering the production, inventory and transportation based on the demand forecasting. This study consider the optimal logistics network of A painter company which maintain the existing transportation network and plan to relocate its plants and build new distribution centers. For this, we design possible alternative scenarios and install the simulation models for analysis of each scenario. The result of simulation will help the proper logistic network and determining the size of distribution center further.

• Progress in Superconductivity and Cryogenics
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• v.10 no.3
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• pp.43-46
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• 2008

Design of current lead for 21T superconducting magnets is presented. The current lead is composed of a normal metal element, conducting the current from room temperature to intermediate temperature, and an HTS element, conducting the current down to liquid helium temperature. The metal element is disengaged from the HTS element without breaking vacuum after excitation. The optimization of the lead is performed to minimize the thermal heat load when carrying operational current with some margin. In order to confirm the feasibility of our new design, the intermediate joint between a normal metal and HTS element is fabricated and the reliability is tested during engage and disengage performance. The effects of vacuum level and performance cycle on the electrical contact resistance are also investigated.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.192-197
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• 2023

David Salle, born in Norman, Oklahoma in 1952, is the most important and controversial artist of the new-expressionist painting in the United States. His paintings are featured by unique artistic language, and extremely diverse and very ground-breaking expression, which reflect the American society at that time. Besides, he often uses complex image combination with striking colors and forms to attract and touch viewers. In this paper, based on the American new-expressionism, the painting language of David Salle's works was analysed, in which I found that it can be more intuitively and more profoundly feel the development of new-expressionist painting context and David Salle's particularity, and more clearly realize under what the characteristics of the era David Salle created the unique artistic language. The study on David Salle's unique painting language is of important research value and reference significance for our current artistic creation.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.128-133
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• 2024

Painting, as an artistic creation with aesthetic characteristics, is inseparable from "shape". "Modeling" is a subjective way of expressing objects, and "black shape" is not only a way of expression, but also a way of composition. "Black shape" is a way of expressing the overall picture of the creator, and "black shape" extracted from the pattern analysis of black and white gray structure is a powerful means to deeply explore the emotions and thoughts of the painter. How to create the expression of subjective intention in the creation of artificial figure painting and to explore the beauty of picture form and the presentation of formal language in multiple dimensions is always sought by painters. Tang Dynasty political stability, economic and cultural development of unprecedented prosperity, "Toujian Diu" as a representative painting of Tang Dynasty, the figure is plump and realistic, colorful but elegant. It not only represents the aesthetic taste of the Tang Dynasty, but also reflects the overall style of the Tang Dynasty's artificial figure painting. The aim of this paper is to explore the value of "black shape" in "Toughen Diagram" and analyze its multi-component form in depth.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.93-102
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• 2014

Recently, various types of dramas have been broadcasted in Korea. Especially, historical dramas having backgrounds about historical events or characters have been recorded high ratings of the viewing audience, as well as a lot of influence on many parts of Korean society. Besides, the historical drama like raised a craze for popular Korean cultures in many Asian countries. The subjects and characters of historical drama are diversifying in recent years. For example, is a royal cook, is a story about running away slaves and their chaser, is a story about a very well-known painter of the Joseon Dynasty era, and is a veterinarian. At this point, in celebration of the officially appointed "year of mathematics", it is very meaningful to demonstrate the importance of mathematics with a historical drama about mathematics and mathematicians of the Joseon Dynasty. In this article, the reasons for production of historical dramas about mathematics and mathematicians in the Joseon Dynasty was presented in two ways. First, modern mathematics has high level of abstractness as its nature, and therefore many students and the public can not understand what except for some areas. Second, it is possible the easier and various approaches can be used to deal with contents about real-life in the view of popularization of mathematics. Also, this article would aim to explore the main character and episodes about mathematics and mathematicians in Joseon Dynasty. For example, the anecdote of Hong Jung Ha, the works of mathematics in the King Sejong's periods, the study of Hong Gil Ju, the joint researches between Nam Byung Gil and Lee Sang Hyuk, the story of Lee Seung Hun, and the mathematics study of middle class people.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.30 no.2
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• pp.134-152
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• 2020

Objectives: The objective of this study was to evaluate volatile organic compounds (VOCs) and toluene diisocyanates (TDIs) exposure among polyurethane waterproofing workers in the construction industry. Methods: Task-based personal air samplings were carried out at seven construction sites using organic vapor monitor for VOCs (n=88) and glass fiber filters coated with 1-(2-pyridyl)piperazine(1-2PP) for TDIs (n=81). The concentration of VOCs and TDIs were shown for four different work types(mixing paint, primer roller painting, urethane resin spread painting, painter assistant) at five different worksites (rooftop, ground parking lot, piloti, bathroom, and swimming pool). The two TDI sampling methods (filter vs impinger) were evaluated in parallel to compare the concentrations. Results: The geometric mean(GM) concentration of VOCs Exposure Index (EI) was highest for primer roller painting (1.4), followed in order by, urethane resin spread painting (0.85), mixing paint (0.53), and painter assistant (0.35) by work types. The GM of VOCs EI was highest for bathroom (1.4) followed in order by, swimming pool (0.85), piloti (0.89), ground parking lot (0.82) and rooftop (0.57) by worksites. The GM of 2,4-/2,6-TDI concentration was 0.052 ppb and 0.432 ppb each. There was no statistical difference in TDIs concentrations among worksites. The concentration of 2,6-TDI was ten times higher than that of 2,4-TDI. The concentration of 2,6-TDI by impinger method was 5.7 times higher than that by filter method. Conclusions: In this study, we found 38.6% of the VOCs samples exceeded the occupational exposure limits and 19.8% of the 2,6-TDI samples exceeded 1 ppb among polyurethane waterproofing workers. The most important determinants that increase the concentration of VOCs and TDIs was indoor environment and primer painting work.