• 한국정밀공학회지
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• 제14권7호
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• pp.144-153
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• 1997

The inverse kinematics problem of a reclaimer which excavates and transports raw materials in a raw yard is investigated. Because of the geometric feature of the equipment in which scooping buckets are attached around the rotating disk, kinematic redundancy occurs in determining joint variable. Link coordinates are introduced following the Denavit-Hartenbery representation. For a given excavation point the forward kinematics yields 3 equations, however the number of involved joint variables in the equations is four. It is shown that the rotating disk at the end of the boom provides an extra passive degree of freedom. Two approaches are investigated in obtaining inverse kinematics solutions. The first method pre-assigns the height of excavation point which can be determined through path planning. A closed form solution is obtained for the first approach. The second method exploits the orthogonality between the normal vector at the excavation point and the z axis of the end-effector coordinate system. The geometry near the reclaiming point has been approximated as a plane, and the plane equation has been obtained by the least square method considering 8 adjacent points near the point. A closed form solution is not found for the second approach, however a linear approximate solution is provided.

• 한국가구학회지
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• 제26권4호
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• pp.314-327
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• 2015

20th century, beginning of modern, the style of art and design, separated reasonable and sensitive code. Art form including cubism, constructivism, futurism and different form including fauvism, expressionism, surrealism and abstract expressionism coexist two code in early modern. But the style of design was separated each period with geometric and organic form, reasonable and sensitive code. Replacement timing on two design style was the transition period of the production-oriented step to the sale-oriented step in marketing. In early stage modern it was stable production-oriented step. Geometric style include G. Rietvevld (Red and Blue chair), M. Breuer (Wassily chair), Fanizon and Martinelli (I-Ching) was simple and functional, received the absolute support. An aggressive demand generation and sales promotion for the design change was needed so that excess supply in the market with a stable production. In sale-oriented step for sales promotion in mid modernism, it was accepted transitions to the sensual organic volume with elegant and sleek style include C. Eames (LCW chair), V. Panton (Panton chair) and C. Mollino (Arabesco Tea table).

• 한국통신학회논문지
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• 제36권4A호
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• pp.325-328
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• 2011

본 논문에서는 기하학적인 관점으로 이변량 가우시안 Q-함수의 Craig 표현에 대한 새롭고 간단한 유도를 제시하고 있다. 또한, 이러한 기하학적인 유도는 이변량 가우시안 Q-함수의 또 다른 Craig 표현 식을 제시하고 있다. 새롭게 유도된 이변량 가우시안 Q-함수의 Craig 식은 2개의 상관 가우시안 잡음에서 직교좌표의 변환으로 생성되는 2개 웨지 영역의 기하학으로부터 새롭게 구한 것이다. 제시된 Craig 형태는 이변량 가우시안 Q-함수로 표현되는 확률을 계산하는데, 중요한 역할을 할 수 있다.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.52-59
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• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• 한국윤활학회:학술대회논문집
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• 한국윤활학회 2001년도 제34회 추계학술대회 개최
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• pp.237-242
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• 2001

In this paper, we theoretically analyzed the NRRO(the non-repeatable run-out) of a ball bearing with ball geometric imperfection. The quasi-static and dynamic analysis of a ball bearing was performed to calculate the displacement of shaft center caused by the ball form errors while the shaft is rotating. From consideration of the generating mechanism of NRRO, it is found that the size and form errors of ball generate vibrations with (equation omitted)$\_$c/ and n(equation omitted)$\_$b/${\pm}$(equation omitted)$\_$c/(where n is even) components, respectively. The ball form errors of a ball bearing were precisely measured and NRRO of a ball bearing was calculated using the measured data. A statistical approach was peformed to analyze NRRO of ball bearings with radial errors.

• Journal of applied mathematics & informatics
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• 제17권1_2_3호
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• pp.121-144
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• 2005

In this paper, we propose unconstrained and constrained posynomial Geometric Programming (GP) problem with negative or positive integral degree of difficulty. Conventional GP approach has been modified to solve some special type of GP problems. In specific case, when the degree of difficulty is negative, the normality and the orthogonality conditions of the dual program give a system of linear equations. No general solution vector exists for this system of linear equations. But an approximate solution can be determined by the least square and also max-min method. Here, modified form of geometric programming method has been demonstrated and for that purpose necessary theorems have been derived. Finally, these are illustrated by numerical examples and applications.

• 대한조선학회논문집
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• 제40권6호
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• pp.30-36
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• 2003

To improve survivability of damaged ship, assessment of stability and structural safety, and behavior analysis in wave is required. Prediction of sinking time, damage stability and structural strength considering progressive flooding and dynamic force in wave is very important. To do it, a geometric model which can be express damaged ship is prepared. This paper described the geometric modeler for survivability assessment of damaged ship. The modeler is developed based on 3-D geometric modeling kernel, ACIS. The hull form and compartment definition is available fundamentally. And requirement for modeler contains data generation and interface for hydrostatic calculation, behavior analysis, and longitudinal strength analysis and so on. To easy access modeling system by conventional user such as crew, user interface is developing.

• 한국의류학회지
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• 제29권12호
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• pp.1582-1594
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• 2005

이 연구의 목적은 패션디자인에서의 형태의 중요성을 이해하는 새로운 시각을 제시하는데 있다. 뵐플린과 드롱의 이론을 바탕으로 Flat St Rounded, Closed & Opened 과 Part & Whole의 세 가지 형태를 보는 시각을 가지고 Vionnet와 Dior 작품에서의 형태미를 분석하는데 적용시켜 고찰해 보았다. Vonnet와 Dior은 그들의 디자인에서 형태와 구조를 디자인의 기본원리로 하여 기하학적인 형태를 그들의 디자인에 적용시킨 디자이너들이다. Vionnet의 10작품과 Dior의 11작품을 선정해 Belong의 visual priorities diagram을 적용시켜 각 디자이너 작품의 형태미를 고찰하고 비교해 보았다. Vionnet는 의복과 인간의 신체 사이의 관계를 통해 새로운 형태미학을 창조해 냈으며 그녀의 작품은 2차원 또는 3차원이라는 공간의 차이에 따라 형태의 전위를 보여주는 독특한 형태학적 특성을 보여주고 있다 그녀의 작품은 2차원의 공간에서는 평면적이고 닫힌 형태인 삼각형, 사각형, 원으로 구성되어 있으나 바이어스 재단에 의한 입체재단 방법을 통해 3차원의 공간에서는 입체적이고 열린 형태로의 형태변형을 한다는 특징을 나타낸다. Dior의 작품은 인체의 자연스러운 형태보다는 인위적인 형태미를 보여주고 있으며 이는 Vionnet작품과의 커다란 차이점이다. Dior은 3차원의 공간에서 구, 각기둥, 원기둥, 각뿔, 입방체와 같은 입체 기하학의 형태를 사용하여 의복의 형태를 만들어 냈고 이는 다아트 변형, 보닝, 개더, 턱, 플리츠, 셔링과 같은 구조주의적인 기술을 통해 실현되고 있다. Dior의 작품은 3차원의 공간에서 인체의 형태와는 무관한 의복 자체만의 형태를 가지고 있으며 이는 입체적이고 닫힌 형태적 특성을 가진다.

• 한국해양공학회지
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• 제27권2호
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• pp.1-7
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• 2013

This paper aims at contributing to the field of ship design by introducing new systematic variation methods for ship hull forms. Hull form design is generally carried out in two stages. The first is the global variation considering the sectional area curve. Because the geometric properties of a sectional area curve have a decisive effect on the global hydrodynamic properties of ships, the design of a sectional area curve that satisfies various global design conditions, e.g., the displacement, longitudinal center of buoyancy, etc., is important in the initial hull form design stage. The second stage involves the local design of section forms. Section forms affect the local hydrodynamic properties, e.g., the local pressure in the fore- and aftbody. This paper deals with a new method for the systematic variation of sectional area curves. The longitudinal volume distribution of a ship depends on the sectional area curve, which can geometrically be controlled using parametric variation and a variation that uses the modification function. Based on these methods, we suggest a more generalized method in connection with the derivation of the lines for a new design compared to those for similar ships. This is the so-called the volumetric balanced variation (VOB) method for ship forms using a B-spline modification function and an optimization technique. In this paper the global geometric properties of hull forms are totally controlled by the form parameters. We describe the new method and some application examples in detail.

• 미술이론과 현장
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• 제9호
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.