• Steel and Composite Structures
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• v.29 no.4
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• pp.527-544
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• 2018

The paper presents the study on a change in modal parameters and structural stiffness of cable-stayed Fiberline Bridge made entirely of Glass Fiber Reinforced Polymer (GFRP) composite used for 20 years in the fjord area of Kolding, Denmark. Due to this specific location the bridge structure was subjected to natural aging in harsh environmental conditions. The flexural properties of the pultruded GFRP profiles acquired from the analyzed footbridge in 1997 and 2012 were determined through three-point bending tests. It was found that the Young's modulus increased by approximately 9%. Moreover, the influence of the temperature on the storage and loss modulus of GFRP material acquired from the Fiberline Bridge was studied by the dynamic mechanical analysis. The good thermal stability in potential real temperatures was found. The natural vibration frequencies and mode shapes of the bridge for its original state were evaluated through the application of the Finite Element (FE) method. The initial FE model was created using the real geometrical and material data obtained from both the design data and flexural test results performed in 1997 for the intact composite GFRP material. Full scale experimental investigations of the free-decay response under human jumping for the experimental state were carried out applying accelerometers. Seven natural frequencies, corresponding mode shapes and damping ratios were identified. The numerical and experimental results were compared. Based on the difference in the fundamental natural frequency it was again confirmed that the structural stiffness of the bridge increased by about 9% after 20 years of service life. Data collected from this study were used to validate the assumed FE model. It can be concluded that the updated FE model accurately reproduces the dynamic behavior of the bridge and can be used as a proper baseline model for the long-term monitoring to evaluate the overall structural response under service loads. The obtained results provided a relevant data for the structural health monitoring of all-GFRP bridge.

• The Journal of Advanced Prosthodontics
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• v.15 no.6
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• pp.315-332
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• 2023

PURPOSE. This study aimed to investigate whether the accuracy of intraoral scanners is influenced by different scanning strategies in an in vitro setting, through a systematic review and meta-analysis. MATERIALS AND METHODS. This review was conducted in accordance with the PRISMA 2020 standard. The following PICOS approach was used: population, tooth impressions; intervention, the use of intraoral scanners with scanning strategies different from the manufacturer's instructions; control, the use of intraoral scanners following the manufacturers' requirements; outcome, accuracy of intraoral scanners; type of studies, in vitro. A comprehensive literature search was conducted across various databases including Embase, SciELO, PubMed, Scopus, and Web of Science. The inclusion criteria were based on in vitro studies that reported the accuracy of digital impressions using intraoral scanners. Analysis was performed using Review Manager software (version 5.3.5; Cochrane Collaboration, Copenhagen, Denmark). Global comparisons were made using a standardized mean difference based on random-effect models, with a significance level of α = 0.05. RESULTS. The meta-analysis included 15 articles. Digital impression accuracy significantly improved under dry conditions (P < 0.001). Moreover, trueness and precision were enhanced when artificial landmarks were used (P ≤ 0.02) and when an S-shaped pattern was followed (P ≤ 0.01). However, the type of light used did not have a significant impact on the accuracy of the digital intraoral scanners (P ≥ 0.16). CONCLUSION. The accuracy of digital intraoral scanners can be enhanced by employing scanning processes using artificial landmarks and digital impressions under dry conditions.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.