• Journal of Digital Convergence
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• v.17 no.5
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• pp.353-360
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• 2019

The research paper for lacquer design furniture design development utilizing the shape of the clean vase investigates and analyzes the vase ceramic deformities of the most prominent Qing's era in Chinese ceramic history, and shows it in a vase to find the basic form of the vase ceramic of that era Applied the shape of the vase itself, and tried to provide a plastic basis for the design of lacquer works. Focusing on the shape of the shaping element shown in the Qing Dynasty vase, we analyze the type of the type, and examine the shape of the bottle china in China Qing period through the investigation of materials used and various documents. Based on the data obtained through the experiment, the design of furniture to sit by applying Chinese clean vase ceramic malformation to Hyopjotalte(Ottchil) lacquer ware in the lacquer making method.

• Journal of the Korea Furniture Society
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• v.21 no.4
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• pp.304-313
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• 2010

Since the significance of the living room has been stressed as the space for family gathering, the weight of an ornamental console among the living room furniture is being increased. A console is an excellent small-sized furniture to highlight the spatial characteristics by being placed in front of the plane wall, which is left as an empty space or between doors. Therefore, this study aims to defined a console and to understand the issues raised on it by analyzing the domestic and international data that are addressed until today. Meanwhile, various consoles in the market today were analyzed through catalogues, data derived from internet, and literature sources on furniture to conduct the processes of idea sketch, rendering, design confirmation, design draft, and computer rendering (3D). As for the design concept of a console, modern design equipped with practicability and ornamental is adopted in the form of a combined console table and flower vase. In terms of economic feasibility and versatility, the design is developed to allow the console use by removing the glass pipe depending on needs and in case of using a flower vase, small flower can be decorated using a glass pipe for the ornamental effect.

• Coupled systems mechanics
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• v.11 no.2
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• pp.151-166
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• 2022

Peltier cells have low efficiency, but they are becoming attractive alternatives for affordable and environmentally clean cooling. In this line, the current article develops closed-form and semianalytical solutions to improve the temperature distribution of Bi₂Te₃ thermoelements. From the distribution, the main objective of the current work-the optimal electric intensity to maximize cooling-is inferred. The general one-dimensional differential coupled equation is integrated for linear and quadratic geometry of thermoelements, under temperature constant properties. For a general shape, a piece-wise solution based on heat flux continuity among virtual layers gives accurate analytical solutions. For variable properties, another piece-wise solution is developed but solved iteratively. Taking advantage of the formulae, the optimal intensity is directly derived with a minimal computational cost; its value will be of utility for more advanced designs. Finally, a parametric study including straight, two linear, barrel, hourglass and vase geometries is presented, drawing conclusions on how the shape of the thermoelement affects the coupled phenomena. A specially developed coupled and non-linear finite element research code is run taking into account all the materials of the cell and using symmetries and repetitions. These accurate results are used to validate the analytical ones.

• Journal of architectural history
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• v.11 no.3 s.31
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• pp.69-86
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• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• Journal of Korean Society of Forest Science
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• v.88 no.2
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• pp.195-204
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• 1999

To improve nut production and timber quality in a plantation, crown shape controls were suggested for Korean white pines (Pinus koraiensis) under age class III through the analyses of the crown shape controls for seed orchard trees in several species, of crown status of controlled and uncontrolled trees in a Korean white pine seed orchard, and of growth characteristics of plantation trees under age class III. For nut production from the small trees less than 8 m, modified leader type can be applied by cutting the central leader and all branches below 1 m and keeping 4~5 nodes with 3~4 whorled branches a node locating 1 m apart. Trees with a 4~8 m long trunk below the first living branch are shaped into trees for nut and timber production, which have a 4~8 m long knotless stem and a modified leader type crown with 4~5 nodes with 3~4 whorled branches a node at a distance of 1 m. Trees, showing the first living branch at or above 9 m from the surface, are pruned severely for timber production and result in a central leader type containing two fifths of the initial crown. It is advisable to remove the leader and the branches when collecting cones or after/during October to take advantage of easy labor and little resin while cutting. After stem cut, branches showing apical dominance are to be cut to control height when necessary. The removal of the uppermost node may be needed to control the crown shape several years after the initial stem-cut.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.12-26
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• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.33-51
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• 2021

This thesis analyzes the formal characteristics of Dutch flower still life from the 17th century to the early 18th century and looks into the relevance with the Dutch art market from a macro perspective. The 17th Flower Still Life is to represent social hierarchy in that as the imported exotic, recherch items, the flowers were classified in the terms of their rarity and expensiveness. For this intriguing research, the subject is circumscribed to a vase of flowers, which is the quintessence of In the form of various Dutch Flower Still Life. Dutch society in the early 17th century was centered on the civilian class engaged in trade and commerce, which allowed them to purchase art works to show off their wealth, economic benefits and satisfaction of aesthetic tastes. Among them, the popularity of flower still life was related to the concentrated demand for rare flowers from the new continent. Accordingly, exact depiction and sense of the three dimensional manner were highly regarded in the early flower still life. For the tastes of the wealthy citizens who succeeded in business, the identity of flowers and the actual screen were considered as important. However, after the mid 17th century, economic growth in the Netherlands put an end, and the art market was also on a downward path. The demand class of flower still life has gotten farther away from the spirit of businessmen and has changed into city aristocrats who were stable rentiers. Their tastes laid emphasis on subjective sensibility, which meant that aristocratic, asymmetric, and dramatic chiaroscuro were preferred rather than being realistic. Furthermore, in the 18th century illusionistic realism was abandoned as an expression method of the planar characteristics and a new era in the floral still life was ushered with the reinforcement of decorative effect. From this perspective, it is not an exaggeration to say that romanticism, which is thought of as the beginning of Contemporary Art, originated from the aesthetic taste of Dutch civic culture.