• Fire Science and Engineering
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• v.25 no.4
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• pp.103-109
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• 2011

In this study, we calculated the smoke movement at the fire area of the refuge floor which has the refuge safety area in case of fire in the high rise building by using a computational fluid dynamics (CFD) code of FLUENT (ver. 13.0). The buoyancy plume was applied using the temperature and flow velocity which represent 10 MW heat release rate in order to describe the fire, and the smoke movement was predicted using a species conservation equation. The pressurization system of smoke control was adopted with smoke control damper in refuge safety area, at the result, it is confirmed that the damper capacity was enough to smoke control in which the flow rate of supply was applied 25 $m^3/s$ in the case of the door at fire area opened only, and 50 $m^3/s$ in the doors at the fire area and lobby both opened case. They were satisfied in NFSC 501-A. Even though the door of fire area closed, there were smoke leakages at the gap between the door and wall. In addition, the refugee could be isolated in the fire area when the door of fire area closed during smoke control in the case of using the high damper flow rate of supply, 50 $m^3/s$. Therefore the proper damper flow rate of supply are needed in order to prevent the damage of refugee and this study proposes the suitable condition of damper capacity according to refuge scenario.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2011.04a
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• pp.267-271
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• 2011

국내에서는 고층 건축물의 화재시 피난계단으로의 연기침투를 방지하여 안전한 피난경로를 확보하기 위하여 피난계단의 부속실에 외기를 급기함으로써 부속실을 단독으로 제연하는 급기가압 제연시스템을 주로 사용하고 있다. 그러나 실제 건축물에 설치되어 운영되고 있는 급기가압 제연시스템에 대한 현장 성능평가의 결과를 검토해보면 상당수의 건축물에서 급기가압 제연시스템이 소기의 운전성능을 발휘하지 못하고 있음을 알 수 있다. 즉, 제연구역인 부속실과 옥내간의 차압이 기준치 이상의 과압으로 형성되거나 또는 반대로 기준치 이하의 저압으로 유지되는 경우가 있다. 특히 피난에 따라 부속실의 출입문이 개방되면, 출입문이 열린 층 이외의 층에서 개방 전에 적정한 수준으로 유지되고 있던 차압이 크게 하강하는 것을 알 수 있다. 본 논문에서는 이러한 급기가압 제연시스템의 문제점과 이에 대한 개선방향을 검토하였다.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.161-171
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• 2010

Peter Brook has been often referred to as the most important contemporary theater director in the West. The fact that he has directed many plays without being tied to a single theatrical theory occasionally makes people think he is a eclectic imitator. But when you carefully observe his work, you can understand that his openness is nothing else but the pursuit and examination of theatrical communication. In this context, Brook's idea reminds us of Bricolage. Bricolage has been widely known after the publication of "The Savage Minds". L$\acute{e}$vy-Strauss used the word to describe characteristic patterns of mythological thought in compared with modern scientific thought and regarded it as a system of thought that we need to restore. Director Peter Brook have sought effective ways to fill the empty space with his broad view of theatre and life. His consistent attempt reveals positive theatrical idea with the expansive possibilities of Bricolage thought.