• Journal of the Society of Disaster Information
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• v.14 no.3
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• pp.367-378
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• 2018

Purpose: The objective of this study is to present a reasonable safety management of the anchored in-situ wall systems constructed in the ground conditions consisting of multi-layered soils underlain by bedrocks in the urban area of Korea. Method: Field measurements collected from collapse case histories with deep excavations were analyzed for the safety management of the wall systems supported by the earth anchors in terms of lateral displacement rates. Results: The average maximum lateral displacement rate in a collapsed zone of the in-situ wall significantly increased upon the completion of the excavation. Particularly, the collapse of the in-situ wall system due to the sliding occurring along the discontinuities of the rock produced a considerably large lateral displacement rate over a relatively short period. Conclusion: For predicting and preventing the collapse of the wall system during or after the excavation work, the utilization of the safety management criteria of the in-situ wall system by the lateral displacement rate was found to be much more reasonable in judging the safety of earthworks than the application of the quantitative management criteria which have been commonly used in the excavation sites.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.22 no.3
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• pp.55-71
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• 2019

The purpose of this study is to propose an evaluation method to assess green environments of streetscapes to improve urban street green spaces in Jeonju City. Through a rapid assessment of urban street green spaces, we suggest an objective basis for expanding street green space as well as for adopting sustainable maintenance and improvement measures. We choose 12 sections of streetscapes (roads and sidewalks) to investigate existing street conditions which have more than four lanes and function as major road axes. Six large roads and six medium roads of Jeonju City center area are investigated as pilot assessment study sites. Site inventory checklists consist of environmental characteristics of streetscape, street tree status, and planting condition evaluation. Environmental characteristics of streetscapes are composed of physical and neighborhood factors. For instance, items for physical factors are types and width of road/sidewalks, paving materials, tree protection materials, and green strip. And surrounding landuse is a neighborhood factor. Assessment items for street tree status are street plant names (tree/shrubs/ground cover), size, and planting intervals. Planting condition evaluation items are tree shape, damage, canopy density, and planting types with existence of adjacent green space. Evaluation results are classified into three levels such as A(maintain or repair), B(greening enhancement), and C(structural improvement). In case of grade A, streetscapes have enough sidewalk width for maintaining green strip and a multi-layered planting(in large road only) with fairly good growing conditions of street trees. For grade B and C, streetscapes have a moderate level of sidewalk width with a single street tree planting. In addition, street tree growing conditions are appeared poor so that green enhancement or maintenance measures are needed. For median, only grade B and C are found as its planting growing foundations are very limited in space. As a result, acquiring enough sidewalk space is essential to enhance ecological quality of urban street green. Especially, it is necessary to have green strip with reasonable widths for plant growing conditions in sidewalks. In addition, we need to consider native species with multi-layer plant compositions while designing street green.

• Journal of the Korean Geotechnical Society
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• v.40 no.3
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• pp.41-54
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• 2024

Regular monitoring plays a crucial role in ensuring the safety of geotechnical structures. Currently, nondestructive methods are employed to monitor such structures to minimize the impact, e.g., sensor-based accelerometers, displacement meters, image-based lasers, and drone imaging. These technologies can observe surface changes; however, they frequently suffer difficulties in terms of identifying changes in internal properties. To monitor changes in internal properties, in situ geotechnical investigations can be employed. A nondestructive test that can be used for this purpose is the spectral analysis of surface wave (SASW) test using geophones. The SASW test is a nondestructive method; however, due to the time required for data interpretation and the difficulty in analyzing the data, it is challenging to use the SASW test for monitoring applications that require frequent observations. However, it is possible to apply the first-step analysis, which yields the dispersion curve, for monitoring rather than the complete SASW analysis, which yields the shear wave velocity. Thus, this paper presents a fundamental study on the phase difference that derives the dispersion curve to utilize the SASW test for monitoring. The reliability of each phase difference interval is examined to determine the boundary to the subjected monitor. The study used phase difference data obtained using a geophone from a single-layered, homogeneous ground site to evaluate reliable boundaries. The findings of this study are expected to improve the utility of monitoring by identifying the ideal boundary for phase difference data.

• Applied Biological Chemistry
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• v.44 no.2
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• pp.97-102
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• 2001

Cheju island depends on a hydrogeologically vulnerable aquifer system as its principle source of drinking water. Most of golf courses are located in the area which is important for the ground water recharge, and pesticides are applied to golf courses often at relatively high rates. Therefore, turf pesticides in golf course should be applied without adversely impacting ground water. In this experiment, downward movement of pesticides was monitored in model greens of golf course, where different adsorbents were layered in 3-cm thickness at 35-cm depth, and effect of the adsorption layer on the leaching loss of pesticides was investigated. Major leachings were observed in the periods of heavy rain and very limited leaching was observed under artificial irrigation. Fenitrothion and triadimefon, which have relatively short persistence and high adsorption coefficient, were found in the leachate in low concentrations only at the first rainfall event, around 20 days after the pesticide application. However, diniconazole, which has a relatively long half-life (97 days), was detected in the leachate during the whole period of experiment and concentration was much higher than those of the other pesticides. Maximum leachate concentrations were 1.9, 10.3, and 84.5 ${\mu}l^{-1}$ for fenitrothion, triadimefon, and diniconazole, respectively. Therefore, in golf course green which allows rapid water percolation and has extremely low adsorption capacity, persistence in soil could be more important factor in determination of leaching potential of pesticides. Total quantity of pesticides leached from the model green was <0.2% for fenitrothion and triadimefon and 1.8% for diniconazole. Adsorption layers significantly reduced pesticide leaching, and active carbon and Orpar were more effective than zeolite. In the model green having adsorption layer of active carbon or Orpar, leaching loss of pesticides was reduced below 0.01% of the initial application.

• Journal of Bio-Environment Control
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• v.26 no.3
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• pp.194-200
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• 2017

This study aimed to determine the suitable of harvest time on the growth and quality of baby leafy vegetables (Agastsche rugosa O. Kuntze and Lepidium sativum L.) grown on rice seedling tray in a six-layered bench system at 30cm intervals in order to exploit the space during rice growing off-season. Seedlings were grown on the rice seedling tray for 10 days after sowing with coir substrate supplied with nutrient solution at EC $1.5dS{\cdot}m^{-1}$ every 2 days prior to placing the tray on the bench, which were at $1^{st}$ (Low) layer above 20cm and $6^{th}$ (High) layer above 170cm apart from the ground. Growth and phytochemical contents were measured at 7-day and 14-day harvest time. During the culture periods, daily average of integrated solar radiation and temperature were $9.3{\sim}9.6MJ{\cdot}m^{-2}$, $27.5^{\circ}C$ in the High layer and $5.1{\sim}6.2MJ{\cdot}m^{-2}$ in average, and $26.5{\sim}26.6^{\circ}C$ in the Low layer, respectively. For A. rugosa, the highest growth was observed in the Low layer bench at a 14-day harvest time, while their plant height in the High layer was shorter and the leaf number was lower. For L. sativum, the plant height, leaf length and width, leaf number and fresh weight were higher in the Low layer. For A. rugosa, a high yield was observed with the increase in integrated temperature and integrated solar radiation, while a higher yield of L. sativum was found with the increase in integrated temperature, but not with integrated solar radiation. For A. rugosa, both polyphenol and anthocyanin contents were higher in the High layer at a 14-day harvest time. For L. sativum, polyphenol contents were higher in the High layer, whereas no significant difference in anthocyanin and flavonoid contents was observed depending on the layer and harvest time. The highest chlorophyll content showed in Low layer at a 7-day harvest time in both A. rugose and L. sativum. All of the results suggest that in terms of growth and quality, it may be better growing in the high layer for 14 days after seedling in A. rugosa, and low layer for 7 days in L. sativum.

• Journal of Animal Environmental Science
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• v.16 no.2
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• pp.153-160
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• 2010

Recently, the treatment of dead poultry has become more important issue because, the infected poultry, which was buried under the ground, causes environmental contaminations such as steep water and reek occurrence, etc. Therefore, in this study, we investigated the type of treatment and the composting methods influencing to the characteristics on decomposition and fermentative disinfection of dead poultry with poultry manure and sawdust. The results of the port tests showed that amputated poultry treated by the cut-sterilization were not only more decomposed, with less smell compared to the non-treated poultry carcass. When we treated thermophilic microorganism such as bacillus in this amputated poultry, the temperature of treated poultry increased much fester, the fermentation temperature didn't rise and not maintained constantly for long time due to the small size of the fermentation port. On the other hand, we did fermentation test by the layered disposal method with more poultry. In this experiment, the temperature of fermented poultry rose to $54^{\circ}C$ in a day and maintained around $55^{\circ}C$ during four weeks period. With less odor outside the experiment room. further. Also, we inoculated AI virus, ND virus in the excrement for studying the effect of fermentative disinfection. The result of the test revealed that AI virus was destructed within 60 minutes and ND virus was destructed within 30 minutes at the temperature of $56^{\circ}C$. Therefore, the investigations revealed scope of composting method for steam sterilized infected poultry in the originated area mixed with poultry manure, sawdust by thermophilic microorganism could increase the effectiveness of fermentative disinfection and decrease the environmental contamination.

• Journal of Korean Historical Folklife
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• no.34
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• pp.253-281
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• 2010

This study has its purpose on figuring it out to the religious notion in Vietnam with the material of the divinity construction of Den Hang Pho in Sapa where is the northern region of Vietnam. To make this, the study divides the type of Vietnamese temples into four parts; Chua, Den, Dinh, and Mieu. Among them, the study pays attention to 'Den' because Vietnamese historical heroes are seated as divinity. This reason makes a reasonable case to this study to figure out a typically and generally religious faith. First of all, the study analyzes immaculate divinity, which generally consists of three and four layered system. The study confirms that the immaculate divinity started from the goddess and then extended to the concept to dominate the sky, the ground, the sea(river), and the mountain(forest). General Tran Hung Dao is the best historical hero in Vietnam and has been placed in temples called Den. The study exams the context that the divinity extended to the religious beliefs, for examples, the belief related in a childbirth by lots of narrations and ceremonies and the belief to treat a sickness, and also exams the context that the divinity placed in a divinity to make a symmetrical relation with immaculate faith. The study exams the divinity construction of Den Hang Pho as its authentic case. In this case, the study could verify a case emphasized by mountain Holy Mother among immaculate faiths. Especially, the study can confirm that General Tran Hung Dao was apotheosized as a concept to be symmetrized with immaculate divinity, and futhermore, a couple of snakes was emphasized by their positioning to every room. Tri-system lays stress on the aboriginality(locality) centered on minority races in the northern Vietnam, the national identity of Vietnam, and the ecological condition of rivers flowing the valley of high and steep peak. The confirmed facts could be said to a construction what the religious notion of tri-system makes. The study makes a conclusion that this kind of conversion-oriented religious notion naturally corresponded with region, nation, and ecologically environmental condition, and extended to the Vietnamese faith with polytheistic divinity.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Environmental Biology
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• v.38 no.4
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• pp.658-666
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• 2020

The purpose of this study was to select a suitable planting substrate for multilayered plantings in an apartment landscape space. The experiment was conducted between May to October 2019, at the National Institute of Horticultural and Herbal Science. Planting substrate was prepared in six repetitions of eight treatment zones using mulching material, horticultural soil, bottom ash, and subgrade soil. Rosa hybrid 'Barkarole' and Hydrangea macrophylla 'Nikko Blue' were selected as the experimental plants. We investigated the monthly variation and effect of the substrate type on the growth (plant height, number of branches, leaf length, leaf width, and plant area of the substrates) of the plants. In R. hybrid 'Barkarole' grown in 20 cm of horticultural soil and 10 cm of bottom ash, the plants were taller(102.2±5.8 cm), had more branches (5.5±0.6 each), longer leaves (10.9±1.0 cm), and greater leaf width (6.2±0.5 cm) and plant area (4077.1±416.6 cm²)(p<0.05). H. macrophylla 'Nikko Blue' showed the best growth from 3cm of mulching, 20cm of horticultural topsoil, and 10cm of bottom ash, which resulted in taller plants (43.6±2.1 cm), more branches (4.9±0.8 each), longer leaves (7.2±0.5 cm), and greater leaf width(4.3±0.3 cm) and plant area (344.5±43.2 cm²). Through this study, it was possible to propose an optimal planting substrate for shrubs for multi-layered landscaping.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.