• 한국터널지하공간학회 논문집
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• 제24권6호
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• pp.553-581
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• 2022

TBM (Tunnel Boring Machine)이 터널 산업에 도입된 이후로 안전성과 친환경의 이점으로 TBM의 사용이 전 세계적으로 증가하였다. 암반 및 토사 지반을 굴착하는 TBM 터널에서의 주요 비용 중 하나는 손상되거나 마모된 커터의 교체로 볼 수 있다. 커터의 교체는 시간과 비용에 큰 영향을 끼치는 작업이며 TBM 가동률과 굴진율을 크게 감소시킬 수 있다. 따라서 커터의 수명을 정확하게 평가하는 것은 공기와 비용의 측면에서 매우 중요하다. 그러나 복합 지반을 포함하여 토사 구간, 암반구간에서 커터 마모에 대한 예측은 매우 복잡하고 명확하지 않다. 이에 따라 커터 마모에 대한 다양한 예측 모델이 개발 및 도입되었지만 이러한 불확실성으로 인해 가변적인 결과를 나타낸다. 본 연구에서는 커터 마모 예측 모델을 제시하기 보다는 커터 교체의 설계 및 시공 사례 연구를 소개하고 분석했다. 커터는 지반 조건, TBM 장비 및 운전의 영향을 많이 받으므로 불확실성과 한계를 감안하면 신뢰성 있는 예측 모델을 제안하는 것은 매우 어렵기 때문에 오히려 실제 사례를 분석하고 이에 대한 자료 공유가 더 실용적이다. 커터 교체에 대한 예측과 결과 간의 차이를 확인하고 심도 있게 분석하였다.

• 대한치과보철학회지
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• 제43권4호
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• pp.528-543
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• 2005

Statement of problem: Repeated delivery and removal of abutment cause some changes such as wear, scratch or defect of hexagonal structure. It may increase the value of rotational freedom(RF) between hexagonal structures. Purpose: The purpose of this study was to evaluate surface changes and rotational freedom between the external hexagon of the implant fixture and internal hexagon of abutment after repeated delivery and removal under SEM and toolmaker's microscope. Materials and methods: Implant systems used for this study were 3i and Avana. Seven pail's of implant fixture, abutment and abutment screws for each system were selected and all fixtures were perpendicularly mounted in liquid unsaturated polyesther with dental surveyor. Each one was embedded beneath the platform of fixture. Surfaces of hexagonal structure before repeated closing and opening of abutment were observed using SEM and rotational freedom was measured by using toolmaker's microscope. Each abutment was secured to the implant future by each abutment screw with recommended torque value using a digital torque controller and was repeatedly delivered and removed by 20 times respectively. After experiment, evaluation for the change of hexagonal structures and measurement of rotational freedom were performed. Result : The results were as follows; 1. Wear of contact area between implant fixture and abutment was considerable in both 3i and Avana system. Scratches and defects were frequently observed at the line-angle of hexagonal structures of implant fixture and abutment. 2. In the SEM view of the external hexagon of implant fixture, the point-angle areas at the corner edge of hexagon were severely worn out in both systems. It was more notable in the case of 3i systems than in that of Avana systems. 3. In the SEM view of the internal hexagon of abutment, Gingi-Hue abutment of 3i systems showed severe wear in micro-stop contacts that were machined into the corners to prevent rotation and cemented abutment of Avana systems showed wear in both surface area adjacent to the corner mating with external hexagon of implant fixture. 4 The mean values of rotational freedom between the external hexagon of the implant fixture and internal hexagon of abutment were 0.48$\pm$0.04$^{\circ}$ in pre-tested 3i systems and 1.18$\pm$0.25$^{\circ}$ after test, and 1.80$\pm$0.04$^{\circ}$ in pre-tested Avana systems and 2.61$\pm$0.16$^{\circ}$ after test. 5. Changes of rotational freedom after test shouted statistical)y a significant increase in both 3i and Avana systems(P<0.05, paired t-test). 6. Statistically, there was no significant difference between amount of increase in the rotational freedom of 3i systems and amount of increase in that of Avana ones(P>0.05, unpaired t-test). Conclusion: Conclusively, it was considered that repeated delivery and remove of abutment by 20 times would not have influence on screw joint stability. However, it caused statistically the significant change of rotational freedom in tested systems. Therefore, it is suggested that repeated delivery and remove of abutment should be minimal as possible as it could be and be done carefully Additionally, it is suggested that the means or treatment to prevent the wear of mating components should be devised.

• 복식문화연구
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• 제8권2호
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 복식
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• 제55권5호
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• pp.108-119
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• 2005

The objective of the study is was investigate the condition of the battle dress uniform worn by male members of the Korean Police Special Weapons Attack Team(KP-SWAT), identify problems, and provide basic raw materials for developing improved design of BDU. For this purpose, the researcher conducted a questionnaire survey on 92 male members of SWAT (Special Weapon Attack Team) units in Seoul using a questionnaire developed through observation and interview. Also, the body sizes of male SWAT members were measured. According to the results of body size measurements, male SWAT members generally require uniforms with a target bust girth, armhole, biceps circumference, thigh and calf circumference, longer jacket length, sleeve length, and trouser length to the knee. According to the results of the questionnaire survey, they reported dissatisfaction with the fit. In addition, they said that the Pockets are positioned too low for convenient use. Many subjects reported that their trousers were too short because of the rubber rings at the bottom of the legs. In addition, many subjects requested the alteration of the inconveniences caused by the designs finished with velcro on the bottom collar of the upper uniform, the marks and ensigns of the upper uniform, the bottom of the upper and lower uniform, and several pockets. Furthermore, there were many complaints concerning how they had to wear their uniform. The most frequently worn out and the body parts most often injured in field training and operations, they were reported, on the upper uniform, as the elbow, collar, neck, armpit, shoulder, and sleeve hem in that order, and on the lower uniform, the knee, interior calf, waist (belt rings), buttocks (rear pockets), and the bottom of the trousers (ankle) in that order As for questions concerning priorities in the improvements of the operational uniform and preferred design, the subjects recommended improvement in safety (protectiveness), workability (motional flexibility), design (shape), fit (size), comfort, ease in terms of putting on and taking off, etc., and the majority preferred two-piece designs ($67.4\%$), followed by one-piece ($30.4\%$), or both ($2.2\%$).

• 패션비즈니스
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• 제5권4호
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• 복식
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• 제35권
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• 복식
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• 제56권4호
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

• 융복합기술연구소 논문집
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• 제6권2호
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• pp.35-40
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• 2016

Ignitor tip is a component of burner to start the burning process in power plant. This is used to ignite the coal to a constant operating state by fuel mixed with air and kerosene. This component is composed of three components so that air and kerosene are mixed in the proper ratio and injected uniformly. Because the parts with the designed shape are manufactured in the machining process, they have to be made of three parts. These parts are designed to have various functions in each part. The mixing part mixes the supplied air and kerosene through the six holes and sends it to the injecting part at the proper ratio. The inject part injects mixed fuel, which is led to have a constant rotational direction in the connecting part, to the burner. And the connecting plate that the mixed fuel could rotate and spray is assembled so that the flame can be injected uniformly. But this part causes problems that are worn by vibration and rotation because it is mechanically assembled between the mixing part and the inject part. In this study, 3D printing method is used to integrate a connecting plate and an inject part to solve this wear problem. The 3D printing method could make this integrated part because the process is carried out layer by layer using a metal powder material. The part manufactured by 3D printing process should perform the post process such as support removal and surface treatment. However, while performing the 3D printing process, the material properties of the metal powders are changed by the laser sintering process. This change in material properties makes the post process difficult. In consideration of these variables, we have studied the optimization of manufacturing process using 3D printing method.

• 복식
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• 제38권
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.