Guarino Guarini(1624-1683) is one of great Baroque architects who developed new spatial concept in architecture. He refused to static space typically appeared in Renaissance architecture. Instead, to make it possible to generate complicate form and moving space, he made use of generative diagram. It provide him with an abstract machine to generate automatically architectural inferiority. His generative diagram consists of three types: single circle diagram, matrix diagram and longitudinal diagram. The first diagram uses single circle as primary generator and develop this by means of overlap and equiangular division. La Cappella della Santissima Sindone, Sanctuary of Chiesa di Oropa, Chiesa dei Padri Somaschi, San Gaetano are designed according to this diagram. The generator of the second diagram is nine circles in $3{\times}3$ matrix, which provide the base for the interpenetration of space in Guarini's architecture. He inspired this diagram from Kepler's $\ulcorner$Harmonices mundi$\lrcorner$. The Churches of San Lorenzo, Ste-Anne-la-Royale, San Filippo Neri, San Gaetano are generated by this diagram. The third diagram has several circles in Lantin-cross plan. Guarini adopted this diagram because he had chances to design several churches in Northern Europe. The churches of Santa Maria di Ettinga, Immacolata Concezione, San Maria della Divina Providenza, Church without Name, San Filippo Neri are representative examples for this diagram.

This study aims at clarifying the spatial generative process of Borromini's architecture. The close examination of his sketches and the analysis of his major four works such as San Carlo alle Quattro Fontane (1634-1667), Sant'Ivo della Sapienza (1642-1660), Santa Maria dei Sette Dolori, Chapel (1643-1646), Collegio di Propaganda Fide, Chapel (1652-1667) show common features in the generation of space as follow. 1) The spatial generative process of Borromini's architecture is dominated by the plan of main space which is formulated from simple geometric elements into complexly folded space by mean of union, addition, copy and warping. 2) Borromini made various kinds of annexed space around the main space to create long and continuous circulation. 3) Borromini's architecture has a tendency to divide interior elevation into two parts, wall part and roof part by thick entablature. Moreover the entablature play important role to copy the figure of the plan of main space three-dimensionally. 4) Borromini tried to create the sense of depth through perspectival distortion and multi-focal space through the ceiling pattern.

최대 선출력 61 ㎾/m 및 평균 연소도 1,770 ㎿d/tU의 조건으로 하나로에서 조사한 DUPIC(Direct Use of Spent PWR Fuel in CANDU Reactors) 핵 연료를 EPMA (Electron Probe Micro Analyzer)를 이용하여 핵분열 생성물을 분석하였다. EPMA의 정확한 분석 방법을 확립하고자, 핵분열생성물 대신 시약을 첨가하여 제조한 모의 DUPIC 핵연료로 EPMA 분석을 수행하였고, 그 결과를 습식 화학 분석의 결과와도 비교하여 평가하였다. 모의 DUPIC 핵연료 중심부의 금속 석출물은 약 1 정도의 크기로 관찰되었으며, 이들의 조성은 Mo-53.89 at.%, Ru-37.40 at.% 및 Pd+Rh-8.71 at%이었다. 모의 DUPIC 핵연료 시험에서 정립한 시험방법으로 조사한 DUPIC 핵연료 시편의 금속 석출물 특성을 분석하였다. 핵연료 중앙부에서 관찰된 금속 석출물들의 크기는 2∼2.5 정도이었으며, Mo-47.34 at.%, Ru-46 at.%, Pd+Rh-6.65 at.%의 조성임을 확인하였다. 이 실험을 위하여, 특별히 시료의 전도성을 향상시키기 위한 처리를 하였으며, 작은 금속 석출물에 EPMA의 전자빔을 정확히 조사할 수 있는 실험 조건을 제시하였다.

After a digital modelling method has been introduced into architectural design in 1990s, a radical change was taken place in generating architectural form and space. Many architects have a view that digital modelling method is the most important invention in the visual presentation since the moment that architect Philippo Brunelleschi experimented initially the linear perspective. Therefore, in this study, comparing between perspectiva artificialis and digital modelling method, we clarify 1) the relationship of architectural design and presentation method, 2) the practical and philosophical background inherent in digital modelling method which played key role in developing non-representational architecture, 3) and the principles of n0n-representational architecture like diagram, folding, and trace.

This study tries to analyze the development of architectural technologies appeared in several tall buildings and large spatial structures from 1955 to 1999 in Korea. We suppose that these buildings represent the development of technology in Korean modern architecture. By the detailed analysis of these buildings, we can arrive at a conclusion as such; During the years 1955-1999, there existed a great changement in the eighties. We can find this fact very well in the domain of structural system and curtain wall system. In large spatial structures, the structural-system of shell and steel truss dome was replaced by that of space frame, space truss and cable truss with membrane. In tall building, the structural system of rigid frame and shear wall was replaced by tubular system, core and outrigger system. Korean architects introduced the aluminum curtain wall in the sixties, but its low technological level caused many problems in reality. Therefore, precast concrete curtain wall appeared from seventies as the main method for an outer wall in tall building. With the augmentation of height after 1980, PC curtain wall was replaced by the aluminum curtain wall of unit type and structural glass wall system. These systems help to stress the transparency in a tall building.

The Chapel and Exhibition hall of Chul-du-san-Holy place are considered as the most important work of architect Lee Hee-Tai (1925-1980), and as a work representing Korean architecture in 1960's. What is the reason that these buildings can acquire such a remarkable estimation? This study tries to make clear this reason with an analytic method. These buildings are situated in singular site, in which small mountain comes up alongside with Han-river. Architect laid out the Chapel and Exhibition hall to the memory of 108 saints who died for their faith in this mountain, considering the specificity of the site, the direction of approach stair, and the formation of public space. Architect proposes an opposed composition of form for these two buildings. So the Exhibition hall is characterized by trabeated structure, centripetal force and Apollonian order. It has strictly proportioned facade, which is composed of two 15m-by-l5m squares and subdivided equally in three portions. The Chapel is charaterized by arcuated structure, centrifugal force, and Dionysosian sentiment. In this work, architect Lee Hee-Tai also expressed the locality of Korean architecture with the grammar of column-roof.

This study tries to compare the architectural thought of Michel Foucault with that of Manfredo Tafuri in order to make clear the architectural identity as a social institution. In Michel Foucault's case, the archeology of discourse and the geneology of power were central method to understand the history of occidental society since the Renaissance. Four him, architecture is assumed as a mechanism of operation which make the power effectively radiate in th space. He thinks that a new discursive space was arranged since the 18th century in Europe, the architecture played a role to coordinate divers powers. Mafredo Tafuri, architetural historian, depends on the criticism of ideology in search of the relation between the economic system of capitalism and modern architecture and urbanism. He thinks that all architecture is an institution. And any attempt to overthrow the institution, is bound to see itself turned into a positive contribution and into an ideology, So all architectural attempts to conceal the contradiction of capitalism are negated. This different perspective on architecture exposes many points of dispute: historical periodization, disciplinary limit of architecture, understanding of Enlightenment architecture, utopia and heterotopia, etc.

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his <Archeology du savoir>. The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

The theory of tectonic appeared in the midst of 19th century as German architects adopted new materials and structural technology, invented by creative engineers, into architectural design. This does not merely mean a technical problem but concern the redefinition of architecture in term of an aesthetic, cultural, and ontological identity. Furthermore it alluded to a desire on the part of architectural theorists to actualize artistic and spiritual goals out of new constructional necessities. Because of their complex discourse that assumed the possibility of communication between philosophical and technical aspects, between ideal and real concerns, tectonics becomes until now the most important issue in architecture. The concept of tectonic was intensively investigated by Gottfried Semper's and Karl Bötticher architectural writings. They contributed to clarify the principle aspects of tectonic within architectural, philosophical, and anthropological discourses of 19th century. Gottfried Semper stressed an understanding of how architecture took on physical form in earliest human culture. He placed great importance on the artistic expression of materials. But unlike Semper who argued the cladding of the structural frame by decorative wall system, Karl Botticher required maximum visibility of structural frame. This represents the different positions between Gottfried Semper and Karl Botticher

용융점 및 물리.화학적 특성이 UO2와 비슷한 yttria-stabilized-zirconia (ZrO2-Y2O3)분말을 유도플라즈마(induction plasma)로 용융 침적시켜 원자력발전용 핵연료펠렛 제조공정에 응용하고자 하였다. 분말의 용융정도는 플라즈마동력 및 분말의 크기에 영향을 받는 것으로 나타났으며, 쉬스가스 조성, 분말분사관 위치, 입자크기 및 분사거리 등을 최적화 하여 Ar/h2유량120/20ℓ/min, 플리즈마 동력 80KW, 분사관의위치 8cm , 챔버압력 200Torr, 분사거리 18cm에서 이론밀도의 97.91%, 침적속도 20mm/min의 최적조건을 도출하였다. 침적시험에서 도출된 최적조건으로 펠렛몰더에서 제조한 펠렛은 96.5%의 밀도를 나타내었으며, 균일도 및 외곤도 우수하여 신기술에 의한 핵연료의 제조가능성을 확인하였다. 고밀도 침적에 영향을 미치는 각 변수들의 영향과 이들 변수들의 상호영향은 ANOVA(Analysis of Variance)을 이용하여 분석하였다.