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개발도상국 매립가스 CDM 등록사업의 예상실적과 감축실적 분석
유승민(Seungmin Ryu),박대원(Daewon Pak) 유기성자원학회 2021 유기물자원화 Vol.29 No.2
2015년 채택된 파리협정으로 2023년부터 탄소감축 이행여부를 점검함에 따라, 메탄가스 발생의 11%를 차지하고 있는 폐기물로부터 배출되는 온실가스 관리는 매우 중요하고 시급한 실정이다. 그럼에도 불구하고, 93%의 폐기물이 비위생적으로 매립되고 있는 개발도상국에서의 매립가스 관리는 여전히 도전적인 과제이다. 이에 CDM 사업을 활용하여 경제적으로 지속가능한 매립가스 자원화 사업이 다시 주목을 받고 있으며, 다양한 개발도상국의 매립장에서 매립가스 발생량과 온실가스 감축량을 산정하기 위한 연구가 활발히 진행되고 있다. 그러나 연구방법에 따라 예측된 수치와 CDM 사업으로 등록된 이후 모니터링을 통한 실측치 간에는 상당한 차이를 보이고 있으며, 차이가 발생한 원인에 대한 연구는 수행된 사례가 없었다. 이에 본 연구에서는 현재까지 UNFCCC에 등록된 매립가스 CDM 등록사업 46건 중 모니터링 을 수행한 사업 18건의 매립가스 프로젝트를 분석하였으며, 연구결과 강우량(28%), 설비고장(22%), 유기성분 함량(11%), 매립물량(11%), 매립지내 온도(11%) 등이 예측치와 실측치 간의 차이를 유발하는 주요 원인임을 확인할 수 있었다. As the implementation of carbon reduction measures would be monitored starting from 2023 in line with the Paris Agreement, it is crucial and urgent to control GHGs emitted from wastes contributing to 11% of methane emissions. Despite such importance and urgency, 93% of wastes are deposited in unsanitary landfills in developing countries, presenting challenges to methane management. Against the backdrop, landfill gas-to-energy projects have once again drawn attention for their economic substantiality secured through CDM projects while there has been much research actively carried out to estimate methane emissions and GHG reductions in landfills located in developing countries. Although a signifiant difference was found between estimations calculated based on research methodologies and actual results monitored through registered CDM projects, there has not been a study conducted on what is causing such a difference. Accordingly, the research team conducted an analysis of 18 LFG projects out of 46 that were registered as LFG CDM projects under the UNFCCC and has identified precipitation(28%), malfunction(22%), organic content(11%), amount of landfilled waste(11%) and temperature(11%) as key parameters causing the difference between the amount of methane captured and the amount of GHG reduced.
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柳承旻(Ryu Seungmin) 한국미술사학회 2007 美術史學硏究 Vol.255 No.255
凌壺觀 李麟祥(1710-1760)은 朝鮮 英祖 연간(1724-1776)에 살았던 조선 후기의 대표적 文人書畵家 였다. 그는 유행을 따르기보다는 뚜렷한 자의식을 바탕으로 자신만의 회화세계를 펼쳤고, 그 회화 세계의 精髓는 山水畵였다. 李麟祥은 初年期(1740년경까지)에 畵譜를 학습하면서 타고난 재능을 체계화하기 시작했으며, 같은 시대에 유행했던 산수기행을 통한 眞景山水畵를 제작하기도 했다. 그런데 진경산수화를 제작하기는 했으나 당시의 鄭敾 일파가 실경의 핍진함을 추구했던 것과는 달리 그는 寫意的인 성격이 강한 작품을 남겼다. 이러한 면모는 1737년 금강산 기행 후에 제작한 것으로 보이는 〈隱僊臺〉등의 작품에서 살필 수 있다. 한편, 1738년작 〈樹石圖〉에서는 이념적 주제와 표현의 기법, 그리고 서예를 통합한 것을 볼 수 있는데, 이는 이인상 산수화의 진면목이 드러나기 시작함을 잘 보여준다. 中年期(1740년경-1751년경)에는 내ㆍ외직을 도는 관직생활과 활발한 교유활동 속에 다양한 형식의 산수화를 제작했는데, 특히 선면화를 많이 만들어 선물했던 것으로 보인다. 이 시기에 그는 이미 明末淸初 문인화가들의 작품에 익숙했던 것으로 보이며, 특히 吳派와 安徽派 화가들의 작품과 친연성이 있는 작품을 여러 점 제작했다. 오파화풍의 구도를 즐겨 사용하거나, 경물의 묘사가 안휘파 화가들의 작품과 유사한, 양식적 특징을 보이는데 이는 그의 崇明的 세계관에 기인한 것으로 여길 수 있다. 특히 안휘파 화가들의 간일한 묘사는 그의 후년기 산수화가 지향했던 바와 양식적ㆍ정신적 연관성이 크다. 後年期(1752년경-서거) 산수화는 寫意性의 극치를 보여준다. 이 시기 그는 초ㆍ중년기를 거치면서 익힌 다양한 양식요소들을 자기화하고, 뚜렷한 자의식을 작품에 담아내어 자신의 文人精神을 투철하게 드러내었다. 그러한 양상이 잘 드러나는 작품으로 〈松下觀瀑>,<道峯溪流>,〈九龍淵>,<長白山〉등을 들 수 있으며, 이들 작품에서 마음속의 이미지를 구도나 경물의 양식적 요소로 포착하여 나타내는 데 성공하고 있다. 그 마음속의 이미지를 그는 ‘心會’라고 지칭하기도 했으며, 표현 기법을 ‘放筆’로 말하기도 했으나 이들을 하나로 꿰는 것은 ‘拙樸’과 ‘淡泊’이었다. 그가 추구했던 ‘졸박’과 ‘담박’은 그의 산수화를 관통하는 원리이기도 했지만, 그 이전에 그의 삶을 규정할 수 있는 개념이기도 하다. 인간 내면의 정직성과 그것의 꾸밈없는 표출로서 인간과 예술의 합일을 실현해 보인 이인상의 산수화는 18세기 朝鮮 文人畵의 핵심요체가 되기에 충분한 자격을 지녔으며, 그 영향은 후대에도 강하게 미쳤다. 나아가 그의 산수화는 현대를 살아가는 우리들에게도 자신을 비추어 볼 수 있는 거울과 같은, 고전적 가치를 지니기에도 충분하다. Neunghogwan 凌壺觀 Lee In-sang 李麟祥 (1710-1760), who lived in the period of King Yongjo 英祖, is a representative literary artist in the last period of the Joseon Dynasty 朝鮮, He explored his own art world based on his strong self-consciousness rather than chased after trends. The essence of his art world is landscape painting. Lee In-Sang began to refine his inborn talent as he learned painting in his early childhood (until about 1740) and he produced true-view landscape painting while he traveled many mountains and livers as many artists did those days. Even though he produced true-view landscape painting, unlike artists in Jeongseon School 鄭敾派, who pursued reproducing a real view as closely as possible, he freely interpreted the view and reflected his insights on his works. His trend can be found in (Eunseondae 隱僊臺), which is assumed to have been produced after his travel to Gumgang Mountain in 1737. Meanwhile, in his work (Suseokdo 樹石圖) in 1738, it is shown that he putted his ideologic theme, expression techniques and caligraphy together and this integration reveals the true characteristic of his landscape painting. During his middle ages (1740-1751), he kept producing various types of landscape painting while he carried out his public service and actively built a dose relationship with others, especially, he seemed to draw and give many pictures on fans for gifts. He seemed familiar with literary artists in China (at the end of the Ming Dynasty and in the beginning of the Qing Dynasty), especially, he produced several pieces of painting that had a affinity with works of the artists in Wu School 吳派 and Anhui School 安徽派. He mainly used the composition of Wu School style but his depiction of objects reveals several formative characteristics similar to those of works produced by artists of Anhui School and this seemed a result of his respect for the Ming Dynasty. Especially, the simple depiction of the artists in Anhui School is closely related to what his landscape painting pursued in his later years in terms of style and ideology. His landscape painting produced in his later years (1752-died) shows the peak of the expression of his personal intention. During that period, he strictly revealed his literary spirit, interpreting various style factors in his own way and holding his clear self-consciousness in his works, which had been reinforced and cleared over times. 〈Songhagwanpok 松下觀瀑〉, 〈Dobonggyeryu 道峯溪流〉, 〈Guryongyeon 九龍淵〉 and 〈Jangbaeksan 長白山〉 are well portrayed this trend and he successfully caught the images in his mind in composition or style factors of landscape objects to express in those works. He used to call images in his mind 'Simhoe 心會' and expression techniques ‘Bangpil 放筆(it means Unbridled Brush)'. He also said that putting them together into one was referred to 'Jolbak 拙樸' and ’Dambak 澹泊'. ‘Jolbak' and 'Dambak' he was seeking for are not only the principle that had penetrated through his works but also the concept that defined his life itself. Lee In-sang's landscape painting, which realized the convergence of human and arts as the honest inside human and straightforward expression of it, is fully qualified to be a key secret of the Joseon literary arts in the 18th century, and he also strongly influenced on next generations. Futhermore. his landscape paintings deserve our praising as what is like a mirror that we can reflect ourselves on.
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Seungmin Kang,Sungmin Ryu,Simon Song 대한기계학회 2020 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.34 No.3
Vortex-induced vibration (VIV) based energy conversion is a promising methodology to generate electricity by utilizing the flow energy neglected and eventually dissipated in nature, as the power generation process is sustainable and free from emission of pollutants. In this vein, micro-scale energy convertors driven in low-Reynolds-number flows have caught the attention for engineering applications. As the performance of the convertors highly depends on the acting forces or VIV responses, VIV amplifications are necessary to elevate the power output or energy conversion efficiency toward a level of engineering practicability. The attachment of a pair of bumps on an elastically mounted circular cylinder was demonstrated as an effective way to elevate the energy output for VIV-based energy convertors. However, most of relevant studies were conducted for turbulent flows as high-capacity energy convertors are of significant interest for direct engineering applications. On the other hand, the effects of the bumps on the energy transfer have rarely been studied for low Reynolds number flows. This paper then aims to quantify the effects of the circumferential locations of a pair of bumps on the energy transfer ratio in a single circular cylinder VIV configuration for Reynolds number 150. The circumferential location of the bumps is optimized under the synchronization condition, and this is compared with the plain cylinder VIV configuration; the energy transfer ratio is appreciably elevated when the bumps are placed at θ = 60 or 75-degree.
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Seungmin Kang,Sungmin Ryu 대한기계학회 2020 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.34 No.6
We present a semi-hollow body as an effective strategy to increase the driving force for vortex-induced vibrations (VIVs) of a circular cylinder. The hollow-body concept is evaluated numerically at Reynolds number Re = 200 and in a range of reduced velocity 3 ≤ U red≤ 8 with a mass-spring system released to vibrate in the transverse direction. Our numerical solutions reveal that, compared with solid-cylinder counterparts, the net transverse force is increased significantly through the semi-hollow body. The transverse force acting on the inner surface is found to be developed as a consequence of semi-confined flows driven by the cylinder oscillation. Furthermore, it is shown that the inner force has a phase difference with respect to the force acting on the outer surface. Based on a systematic force analysis, the appreciable increase in the transverse force is attributed to the constructive interference between the inner and outer forces.
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