• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2009.06a
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• pp.477-477
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• 2009

Bimodal Tram developed by KRRI is driven by a series Hybrid propulsion system which has both the CNG engine, generator and LPB(Lithium Polymer Battery) pack. It has three driving modes; Hybrid mode, Engine mode and Battery mode. Even in case of Battery mode, LPB pack to get enough power to drive the vehicle only by itself onsists of 168 LPB cells(80Ah per lcell), 650V. It is important thing to manage LPB pack in a right way, which will extend the lifetime of LPB cells and operate in the hybrid mode effectively. This paper has shown the development of battery management system(12 BMS, 1 BMS per 14cells) to manage LPB pack which is connected with CAN(Controller Area Network) each other and measure the voltage, current, temperature and also control the cooling fan inside of LPB pack. Using the measured data, BMS can show the SOC(State of Charge), SOH(State of Health) and other status of LPB pack including of the cell balancing.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.35-47
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• 2006

This study aims to suggest the Deconstruction theory that is changing and developing by being converted into visual from as cultural code which reflects the spirit of the times and art style as well as to analyze the phenomenon of deconstruction expressed in the Fashion photographs. Fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. Fashion photographs is direct information about the fashion itself, and at the same time, it transmits various circumstances of the times. Fashion photographs has opened a new aspect called visual communication, when it's seen in new, more profound way, instead of being locked in its visible frame. Photograph is no longer a mere means to preserve documentation or pursue artistic expression. Instead, it's now regarded as a way to pursue visual transmission owing to its cognitive psychology, and this is a remarkable step toward new thing. In this study, the possible visual information function of photograph was explored from diverse aspects, such as the combination of photo and design, its linking to printing technology's mass production function, or the development of its imagery symbolism. This study shows that the nature of deconstruction can be explained as deconstruction of the sexes, deconstruction of the time and space, and deconstruction of the genre.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.5 no.7
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• pp.1354-1360
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• 2001

Calculated velocity distribution was used to visual information by image that is obtained from camera. The visual velocity of object that is obtained from this visual information were fused and experimented. That is, need motion of eye that motion of head that happen by external disturbance or move of camera itself to get stable image in environment that receive external disturbance can be compensated. In this treatise, algorithm that control gaze which vision and sense of equilibrium are fused in environment with external disturbance proposed, and thing that compare with that it controls gaze only that control gaze which vision and sense of equilibrium are fused in the experiment result and position deflection is few confirmed. This was because action of camera prop is effect that record conclusion error of the speed because the appearance speed is decreased being compensated by angular velocity sensor.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.151-164
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• 2005

In the modern popular culture, a significant code is not the truth itself but the seeming truth. To fulfill this function, it is a mythology that has a transcendental power to eliminate any doubt and mystery. That is to say, cultural uniqueness is understood as an identical thing through mass communication, and people perceive it as a similar cultural community. In this process, mythology form and accumulate the matrix of mythological meaning by eliminating the difference between the reality and the illusion. Such a matrix forces a meaningless and unconditional truth and practice without any criticism and reconsideration. This paper tries to extract art and cultural characteristics of mythological image through examining the relationship among mythological image, history, and ideology. For this aim, we make use of Roland Barthes' signs and Daniel Boorstin's image as a basic analytical tool. After that we examine the characteristics of mythological image appeared in modern cultural discourses and the relationship between mythological image and modern popular culture. Furthermore, we consider the mythological image expressed in modern fashion, which has the nature of commodity aesthetics.

• The Transactions of the Korean Institute of Electrical Engineers P
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• v.64 no.4
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• pp.231-235
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• 2015

Bimodal Tram developed by KRRI is driven by a series Hybrid propulsion system which has both the CNG engine, generator and LPB(Lithium Polymer Battery) pack. It has three driving modes; Hybrid mode, Engine mode and Battery mode. Even in case of Battery mode, LPB pack to get enough power to drive the vehicle only by itself onsists of 168 LPB cells(80Ah per lcell), 650V. It is important thing to manage LPB pack in a right way, which will extend the lifetime of LPB cells and operate in the hybrid mode effectively. This paper has shown the development of battery management system(12 BMS, 1 BMS per 14cells) to manage LPB pack which is connected with CAN(Controller Area Network) each other and measure the voltage, current, temperature and also control the cooling fan inside of LPB pack. Using the measured data, BMS can show the SOC(State of Charge), SOH(State of Health) and other status of LPB pack including of the cell balancing.

• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.1
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• pp.65-74
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• 2008

Light creates ambiance that affects our impression of space. Before the modern age, the role of light is a religious factor and a primitive state to see. In the modern space design, light is used to achieve the continuous transformation and translation of building's image. Ever-changing space is a flexible corresponding of space to its environment, caused by certain dynamic light. The space turn into some other thing from what it was before, or just changing its character. approaching men and society with different meanings. The purpose of this study is to explore the relation between light(natural and artificial) and ever-changing space through the case study. The impacts of light on ever-changing in today's space design can be summarized as follows. 1) Materialization of light in space design. Nowadays light becomes a form itself. The geometric properties of the space form playa secondary role as compared to the importance assigned to light. 2) Pixelization of space by a light effect. The impacts of digital technology on the space design have come through enhancing the 'pixelization' of the surface from which buildings are made their responsiveness and adaptability to changing needs. The surface with ever-changing lights that blur the boundary of space and expand the image of space.

• Korean Institute of Interior Design Journal
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• no.9
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• pp.67-76
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• 1996

One of the most important thing in studying the form of the interior architecture is to set up the methodology of the morphological of the morphological analysis. This article tries to introduce one of such attempts namely, that of Dr. Hisao Koyama, professor of Tokyo University , by applying it to one of F.L. Wright's works, the Robie residence . Professor Koyama has outlined a new methodology of morphologically analyzing the interior architectures, by shifting his focus of analysis from the external conditions of a form, such as functional personal and social traits and traits of the time, to the internal conditions of the form as itself. The outcome of the analysis clearly shows that the Robie Residence , classically known by its horizontality, does have a coexisting factor of verticality. This implies that such a method is useful in revealing the aesthetic compounds of the interior architectures, this time that of F.L. Wright , in a more concrete way. Such an outcome can hopefully be applied to the practices of designing the interior architectures.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.229-241
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• 2012

Kuramata Shiro's design has been evaluated as an unseen type of beauty. He created totally different aesthetics from functional furniture by utilizing glass, acrylic, and expanded steel mesh which usually are inappropriate for making furniture. Kuramata told that his design always starts from zero status. By doing so, he could be free from the existing notion and form of furniture. This means that every function and every form must be based on his own understanding and experiment in order to produce newness. Owing to these efforts, we can regard his design as artworks. Kuramata tried to bring forth formative lines inside contour of furniture rather than to deform only the formal outlines of furniture. These lines are very delicate and sometimes ephemeral. But they establish formal potentiality of phenomenological being of beauty. Also those lines are built from humble industrial material but they open the truth of thing itself and introduce the beauty to field of aletheia. At the same time, transcending limitation of function and use, they leave pure form and temporariness. So, lines become a field of Heideggerian rift which produces embodiment of form. We can appreciate his design through these lines that are relatively thin but vivid enough to follow his original world of art.

• Journal of Science of Art and Design
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• v.6
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• pp.119-139
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• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Journal of the Korean Society for information Management
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• v.20 no.1
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• pp.199-230
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• 2003

The purpose of this study is on the Shera's sociological aspect of librarianship. Jesse H. Shera, educator, philosopher, and theoretician, considered that perhaps his most significant contribution to librarianship was not a “thing” but a “concept”. Library was created to meet certain social necessities, and that its development is closely related not only to intellectual history but also to change in the organizational structure and the value system of its supporting culture. It is axiomatic, then, that the library as a social instrumentality. is, as it has always been, conditioned and shaped by the social milieu within which it function. Therefore we are concerned with the need for a new epistemological discipline, a body of new about knowledge itself.