• 한국실내디자인학회논문집
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• 제2호
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• pp.46-53
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• 1994

The Soubise Mansin which construction ended in the latter half of 1730s has several rooms which symbolize Rococo which appeared in the 18 century. The work of the Soubis Mansion done by an architect, Boffrand , is a significant work in which he had introduced a new style of building , Rococo, based on a style of Regency, thereby showing a big leaf in that kind of art. In other words, with the elements already established in the days of Regency-white wood panel, gold molding, mirror technique, etc. -and the characteristics of unprecedent, outstanding spatial forms and Rococo decoration introduced. Rococo had enjoyed its peak of full flourish within the moderation of being never excessively magnificent, beautiful, and dignified. It is a remarkable thing that a model of such perfect ideal beauty was suggested even in the begining state of Rococo and it is deemed that such a point resulted in such influence on other places like the Versalilles Palace, etc.

• 한국실내디자인학회논문집
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• 제19권2호
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• pp.144-154
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• 2010

This study aimed at analyzing physical characteristics of art-walls which is a focal point in contemporary interiors of the apartment houses. The factors for the analysis were types of apartments, positions, widths, compositions of elevation, and materials of art-walls. 89 art-walls were selected for the analysis ranging from $76m^2$ to $187m^2$. The result shows that wood was mostly applied to art-walls in small types of apartment in combination with other materials, and the composition of elevation was asymmetric. If the width of art-walls became smaller, the elevation was dominantly designed with symmetrical grid using tiles. Tiles turned out to be the general material for the single-applied material. However, if more than two materials were applied to art-walls, wood was chosen as the main material. Regardless of the types of apartment, big-sized art-walls were usually designed in the living room, and two different types of materials were applied to the walls. It reveals that art-walls of apartment houses have been planned and designed with focuses on the living room in the housing space. To make a modular panel for the art-walls, 400mm and 800mm sizes were both suggested, 400mm for the smaller composition, and 800mm for the larger composition of the art-walls. A Wall image is becoming more essential to the living space these days, because it can be both decorative and also supportive to residents' various individualities. Therefore, it is expected that further researches on art-walls are continuously performed, and also various designs of art-walls based on the modular system are developed in the near future.

• Journal of the Korean Wood Science and Technology
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• 제23권4호
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• pp.39-45
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• 1995

The plywoods commonly used as decorative interior materials for the construction are inflammable and so it is a causative factor for making fire accidents, resulting in the destruction of human life and personal properties. Indeed, it is, therefore, required to produce fire-retardant plywoods. In this study, a special grade of defect-free, Kapur plywood was used. Specimens were cut into 3- by 20cm dimensions from 120- by 240- by 0.33-cm panels(thin panel) or 120- by 240- by 0.5-cm panels(thick panel). Some specimens were treated with diammonium phosphate(DAP), but some were not treated with diammonium phosphate to use as control panels. Chemical absorption, drying curves, drying rates and dynamic Young's modulus were investigated. The results were summaries as follows; 1. The specimens were soaked into 19% diammonium phosphate solution by a full cell pressure process and the diammonium phosphate retained in the thin and thick plywoods was 1.409kg/$(30cm)^3$, 1.487kg/$(30cm)^3$, respectively. 2. Diammonium phosphate-treated plywoods were redried with press-drying process at one of either condition dried on the platen($115^{\circ}C$) for a period of time or dried on the platen($50^{\circ}C$) for 3 hrs plus in a dry-oven($30^{\circ}C$) for 24 hrs. or dried on the platen($60^{\circ}C$) for 2 hrs plus in a dry-oven($30^{\circ}C$) for 24 hrs. The drying rate of treated thin specimens dried at $60^{\circ}C$ plus $30^{\circ}C$ and $115^{\circ}C$ only was found to be 0.04 %/min. and 8.53 %/min. Similarly, the drying rate of treated thick specimens were 0.03 %/min. and 6.77 %/min. respectively. 3. It was evident that highly-significantly different drying rate of treated plywoods was observed between plywood thicknesses and platen temperatures and the rate was increased by elevating the platen temperature up to $115^{\circ}C$. Based on the two-way variance analysis, highly significant drying rate was observed from the interaction between plywood thicknesses and platen temperatures. 4. After redrying, the specimens were weighed and reconditioned to a constant weight in a facility maintained temperature ($20^{\circ}C$) and relative humidity(65%) prior to test dynamic Young's modulus. The test revealed that the thin specimens dried at the platen temperature of $50^{\circ}C$, $60^{\circ}C$, $115^{\circ}C$ and untreated specimens showed 1.070E+09 dyne/$cm^2$, 1.156E+09 dyne/$cm^2$, 1.243E+09 dyne/$cm^2$, and 1.052E+09 dyne/$cm^2$, respectively. Likewise, the thick specimens revealed 5.647E+09 dyne/$cm^2$ 5.670E+09 dyne/$cm^2$, 6.395E+09 dyne/$cm^2$ and 5.415E+09 dyne/$cm^2$, respectively. 5. It was evident that significantly different dynamic Young's modulus was observed between the plywood thickness and the platen temperature, but not in the two-way interaction between the plywood thickness${\times}$the platen temperature.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• 생명과학회지
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• 제25권12호
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• pp.1445-1449
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• 2015

소나무재선충(Bursaphelenchus xylophilus)은 소나무재선충병을 유발하여 한국의 소나무 숲에 심각한 영향을 미치고 있다. 소나무재선충에 감염된 소나무는 일반적으로 훈증 또는 파쇄처리되지만 소나무재선충병 피해지역의 방제효과를 검증할 수 있는 효과적인 방법은 아직 없다. 본 연구에서는 소나무재선충병 방제효과 검증에 적합한 솔수염하늘소 집합페로몬의 농도를 알아보기 위해 2-(Undecyloxy)ethanol, 알파-피넨, 에탄올을 이용하여 경상북도 포항시의 소나무재선충병 피해지역에서 필드테스트를 시행하였다. 총 27마리의 솔수염하늘소가 유인되었으며 고농도(700 mg)의 집합페로몬을 사용한 트랩이 가장 효과적이었다. 집합페로몬 2-(Undecyloxy)ethanol은 솔수염 하늘소 개체수 조사와 소나무재선충병 방제효과 검증에 사용할 수 있을 것으로 사료된다.

• 한국산림과학회지
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• 제110권4호
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• pp.554-568
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• 2021

산림은 육상생태계에서 가장 큰 탄소흡수원으로 기후변화 대응에 있어 산림의 대기 중 이산화탄소 농도 저감 역할은 중요하다. 최근 '2050 탄소중립 계획'에 산림의 탄소흡수 기능의 강화가 기본 방향으로 제시되면서 정확한 산림의 탄소흡수량 산정이 강조되고 있다. 산림부문의 탄소흡수량은 Intergovernmental Panel on Climate Change 지침을 따라 산림 내 생물량, 고사목, 임상 유기물층, 토양층, 수확된 목재제품 등 여러 탄소 저장고 내 탄소축적 변화량으로부터 산정한다. 그러나 국내 산림의 경우 하층 식생을 제외한 주요 수종의 임목 재적 증가로부터 추정한 생물량 증가량만을 산림의 탄소흡수량으로 산정하고 있어 실제 산림의 탄소흡수량과 큰 차이가 발생할 수 있다. 이에 본 연구에서는 경기도 광주시 태화산에 위치한 57년생 잣나무 조림지에서 에디 공분산 시스템과 자동화 토양챔버 시스템을 이용한 탄소 플럭스 관측을 통해 산림의 탄소 교환량 및 순 탄소흡수량을 정량화하고, 이를 현재 산림의 탄소흡수량 산정 방법에 따라 법정림 임분수확표 내 연평균 생장량과 국가 고유계수를 이용하여 계산한 잣나무 조림지 임목의 생물량 증가량과 비교하였다. 또한 탄소 플럭스 관측기반의 순 탄소흡수량과 잣나무 조림지의 생물량 증가량 및 임상 유기물층의 탄소저장 변화량 등의 차이로부터 나머지 탄소 저장고에서 연간 탄소저장 변화량을 추정하였다. 그 결과 탄소 플럭스로부터 계산한 잣나무 조림지의 연간 순 탄소흡수량은 5.96 MgC ha^-1으로 생물량 증가로부터 계산한 임목의 연간 탄소흡수량 2.77 MgC ha^-1보다 약 2.2배 많았다. 연간 임상 유기물층의 탄소저장 변화량은 0.75 MgC ha^-1로 추정되어, 연간 하층 식생, 고사목, 토양층 등의 탄소 저장고로 유입되는 탄소의 양이 2.45 MgC ha^-1으로 추정되었다. 본 연구의 결과는 국내 산림이 현재 평가 수준보다 더 큰 탄소흡수원임을 보여주며, 탄소 플럭스 관측과 더불어 하층 식생, 고사목, 토양층 등의 탄소 저장고에서 탄소축적 변화량의 정량화를 통해 더욱 정확한 산림부문 탄소흡수량 산정이 필요함을 시사한다.