• Title/Summary/Keyword: basic materials

Search Result 4,541, Processing Time 0.039 seconds

A study on the optimization of tunnel support patterns using ANN and SVR algorithms (ANN 및 SVR 알고리즘을 활용한 최적 터널지보패턴 선정에 관한 연구)

  • Lee, Je-Kyum;Kim, YangKyun;Lee, Sean Seungwon
    • Journal of Korean Tunnelling and Underground Space Association
    • /
    • v.24 no.6
    • /
    • pp.617-628
    • /
    • 2022
  • A ground support pattern should be designed by properly integrating various support materials in accordance with the rock mass grade when constructing a tunnel, and a technical decision must be made in this process by professionals with vast construction experiences. However, designing supports at the early stage of tunnel design, such as feasibility study or basic design, may be very challenging due to the short timeline, insufficient budget, and deficiency of field data. Meanwhile, the design of the support pattern can be performed more quickly and reliably by utilizing the machine learning technique and the accumulated design data with the rapid increase in tunnel construction in South Korea. Therefore, in this study, the design data and ground exploration data of 48 road tunnels in South Korea were inspected, and data about 19 items, including eight input items (rock type, resistivity, depth, tunnel length, safety index by tunnel length, safety index by rick index, tunnel type, tunnel area) and 11 output items (rock mass grade, two items for shotcrete, three items for rock bolt, three items for steel support, two items for concrete lining), were collected to automatically determine the rock mass class and the support pattern. Three machine learning models (S1, A1, A2) were developed using two machine learning algorithms (SVR, ANN) and organized data. As a result, the A2 model, which applied different loss functions according to the output data format, showed the best performance. This study confirms the potential of support pattern design using machine learning, and it is expected that it will be able to improve the design model by continuously using the model in the actual design, compensating for its shortcomings, and improving its usability.

Introduction on the Products and the Quality Management Plans for GOCI-II (천리안 해양위성 2호 산출물 및 품질관리 계획)

  • Lee, Sun-Ju;Lee, Kyeong-Sang;Han, Tae Hyun;Moon, Jeong-Eon;Bae, Sujung;Choi, Jong-kuk
    • Korean Journal of Remote Sensing
    • /
    • v.37 no.5_2
    • /
    • pp.1245-1257
    • /
    • 2021
  • GOCI-II, succeeding the mission of GOCI, was launched in February 2020 and has been in regular operation since October 2020. Korea Institute of Ocean Science and Technology (KIOST) processes and produces in real time Level-1B and 26 Level-2 outputs, which then are provided by Korea Hydrographic and Oceanographic Agency (KHOA). We introduced current status of regular GOCI-II operation and showed future improvement. Basic GOCI-II products including chlorophyll-a, total suspended materials, and colored dissolved organic matter concentration, are induced by OC4 and YOC algorithms, which were described in detail. For the full disk (FD), imaging schedule was established considering solar zenith angle and sun glint during the in-orbital test, but improved by further considering satellite zenith angle. The number of slots satisfying the condition 'Best Ocean' significantly increased from 15 to 78. GOCI-II calibration requirements were presented based on that by European Space Agency (ESA) and candidate fixed locations for calibrating local observation area were. The quality management of FD uses research ships and overseas bases of KIOST, but it is necessary to establish an international calibration/validation network. These results are expected to enhance the understanding of users for output processing and help establish detailed plans for future quality management tasks.

Evaluation of the Usefulness of the Transmittance of Metal Filaments Fabricated by 3D Printers in Radiation Therapy (방사선 치료에서 3D 프린터로 제작된 금속 필라멘트의 투과율에 관한 유용성 평가)

  • Kwon, Kyung-Tae;Jang, Hui-Min;Yoon, Myeong-Seong
    • Journal of the Korean Society of Radiology
    • /
    • v.15 no.7
    • /
    • pp.965-973
    • /
    • 2021
  • Since radiation therapy is irradiated with high-energy X-rays in a variety of at least 20 Gy to 80 Gy, a high dose is administered to the local area where the tumor is located, and various side effects of some normal tissues are expected. Currently, in clinical practice, lead, a representative material, is used as an effort to shield normal tissues, but lead is classified as a heavy metal harmful to the human body, and a large amount of skin contact can cause poisoning. Therefore, this study intends to manufacture a measurement sheet that can compensate for the limitations of lead using the materials Tungsten, Brass, and Copper of the 3D printer of the FDM (Fused Deposition Modeling) method and to investigate the penetration performance. Tungsten mixed filament transmission measurement sheet size was 70 × 70 mm and thickness 1, 2, 4 mm using a 3D printer, and a linear accelerator (TrueBeam STx, S/N: 1187) was measured by irradiating 100 MU at SSD 100 cm and 5 cm in water using a water phantom, an ion chamber (FC-65G), and an elcetrometer (PTW UNIDOSE), and the permeability was evaluated. As a result of increasing the measurement sheet of each material by 1 mm, in the case of Tungsten sheet at 3.8 to 3.9 cm in 6 MV, the thickness of the lead shielding body was thinner than 6.5 cm, and in case of Tungsten sheet at 4.5 to 4.6 cm in 15 MV. The sheet was thinner than the existing lead shielding body thickness of 7 cm, and equivalent performance was confirmed. Through this study, the transmittance measurement sheet produced using Tungsten alloy filaments confirmed the possibility of transmission shielding in the high energy region. It has been confirmed that the usability as a substitute is also excellent. It is thought that it can be provided as basic data for the production of shielding agents with 3D printing technology in the future.

A Study on Forming 'Body Schema' for Role Creating (역할 창조를 위한 '몸틀(body schema)' 형성 연구)

  • Song, Hyo-sook
    • Journal of Korean Theatre Studies Association
    • /
    • no.52
    • /
    • pp.319-357
    • /
    • 2014
  • Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

A Study on the Costumes of the Characters of Higyongru Banghwoedo (<희경루방회도(喜慶樓榜會圖)> 속 인물들의 복식 고찰)

  • Bae, Jin-Hee;Lee, Eun-Joo
    • Korean Journal of Heritage: History & Science
    • /
    • v.51 no.4
    • /
    • pp.44-65
    • /
    • 2018
  • This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

Study on the Casting Technology and Restoration of "Sangpyong Tongbo" (상평통보 주조와 복원기술연구)

  • Yun, Yong-hyun;Cho, Nam-chul;Jeong, Yeong-sang;Lim, In-ho
    • Korean Journal of Heritage: History & Science
    • /
    • v.47 no.4
    • /
    • pp.224-243
    • /
    • 2014
  • This study examined the materials and casting technology(cast, alloy, etc.) used in the manufacturing of bronze artifacts based on old literature such as Yongjae Chonghwa, Cheongong Geamul, and The Korea Review. In the casting experiment for restoration of Sangpyong Tongbo, a bronze and brass mother coin mold was made using the sand mold casting method described in The Korea Review. The cast was comprised of the original mold plate frame, wooden frame, and molding sand. Depending on the material of the outer frame, which contains the molding sand, the original mold plate frame can be either a wooden frame or steel frame. For the molding sand, light yellow-colored sand of the Jeonbuk Iri region was used. Next, the composition of the mother alloy used in the restoration of Sangpyong Tongbo was studied. In consideration of the evaporation of tin and lead during actual restoration, the composition of Cu 60%, Zn 30%, and Pb 10% for brass as stated in The Korea Review was modified to Cu 60%, Zn 35%, and Pb 15%. For bronze, based on the composition of Cu 80%, Sn 6%, and Pb 14% used for Haedong Tongbo, the composition was set as Cu 80%, Sn 11%, and Pb 19%. The mother coin mold was restored by first creating a wooden father coin, making a cast from the wooden frame and basic steel frame, alloying, casting, and making a mother coin. Component analysis was conducted on the mother alloy of the restored Sangpyong Tongbo, and its primary and secondary casts. The bronze mother alloy saw a 5% increase in copper and 4% reduction in lead. The brass parent alloy had a 5% increase in copper, but a 4% and 12% decrease in lead and tin respectively. Analysis of the primary and secondary mother coin molds using an energy dispersive spectrometer showed that the bronze mother coin mold had a reduced amount of lead, while the brass mother coin mold had less tin. This can be explained by the evaporation of lead and tin in the melting of the primary mother coin mold. In addition, the ${\alpha}$-phase and lead particles were found in the mother alloy of bronze and brass, as well as the microstructure of the primary and secondary coin molds. Impurities such as Al and Si were observed only in the brass mother coin mold.

A Study of Properties and Coating Natural Mineral Pumice Powder of in Korea (한국산 천연 광물 부석 파우더 코팅 및 특성에 관한 연구)

  • Kim, In-Young;Noh, Ji-Min;Nam, Eun-Hee;Shin, Moon-Sam
    • Journal of the Korean Applied Science and Technology
    • /
    • v.36 no.2
    • /
    • pp.498-506
    • /
    • 2019
  • This study is based on a coating method that provides utilization value as a micronised powder for cosmetic raw materials using natural minerals buried in Bonghwa, Gyeongsangbuk-do in Korea. The mineral powder name is called Buseok, and chemical name is pumice powder. The results of a study on the efficacy of cosmetics are reported by the development of particulate powder to assess the performance of this powder. First of all, in order to coat the surface of this powder with oil, aluminum hydroxide was coated on the particulate surface and then coated with alkylsilan. In addition, it was coated with vegetable oil to prevent condensation of the powder and increase the dispersion in the oil phase. First; the particle size of pumice powder was from 10 to 50mm having porous holes on the surface of the particles. Second; The components of this powder contained $SiO_2$, $Al_2O_3$, $Fe_2O_3$, MgO, CaO, $K_2O_2$, $Na_2O$, $TiO_2$, $TiO_2$, MnO, $Cr_2O_3$, $V_2O_5$. Third: The particles of this powder have a planetary structure and are reddish-brown with porosity through SEM and TEM analysis. Fourth; the far-infrared radiation rate of this parabolic powder was $0.924{\mu}m$, and the radiative energy was $3.72{\times}102W/m^2$ and ${\mu}m$. In addition, the anion emission is 128 ION/cc, which shows that the coating remains unchanged. Based on these results, it is expected to be widely applied to basic cosmetics such as BB cream, cushion foundation, powderfect, and other color-coordinated cosmetics, sunblock cream, wash-off massage pack as an application of cosmetics. (Small and Medium Business Administration: S2601385)

A Study on History and Archetype Technology of Goli-su in Korea (한국 고리수의 역사와 원형기술의 복원 연구)

  • Kim, Young-ran
    • Korean Journal of Heritage: History & Science
    • /
    • v.46 no.2
    • /
    • pp.4-25
    • /
    • 2013
  • Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

Prioritization of Species Selection Criteria for Urban Fine Dust Reduction Planting (도시 미세먼지 저감 식재를 위한 수종 선정 기준의 우선순위 도출)

  • Cho, Dong-Gil
    • Korean Journal of Environment and Ecology
    • /
    • v.33 no.4
    • /
    • pp.472-480
    • /
    • 2019
  • Selection of the plant material for planting to reduce fine dust should comprehensively consider the visual characteristics, such as the shape and texture of the plant leaves and form of bark, which affect the adsorption function of the plant. However, previous studies on reduction of fine dust through plants have focused on the absorption function rather than the adsorption function of plants and on foliage plants, which are indoor plants, rather than the outdoor plants. In particular, the criterion for selection of fine dust reduction species is not specific, so research on the selection criteria for plant materials for fine dust reduction in urban areas is needed. The purpose of this study is to identify the priorities of eight indicators that affect the fine dust reduction by using the fuzzy multi-criteria decision-making model (MCDM) and establish the tree selection criteria for the urban planting to reduce fine dust. For the purpose, we conducted a questionnaire survey of those who majored in fine dust-related academic fields and those with experience of researching fine dust. A result of the survey showed that the area of leaf and the tree species received the highest score as the factors that affect the fine dust reduction. They were followed by the surface roughness of leaves, tree height, growth rate, complexity of leaves, edge shape of leaves, and bark feature in that order. When selecting the species that have leaves with the coarse surface, it is better to select the trees with wooly, glossy, and waxy layers on the leaves. When considering the shape of the leaves, it is better to select the two-type or three-type leaves and palm-shaped leaves than the single-type leaves and to select the serrated leaves than the smooth edged leaves to increase the surface area for adsorbing fine dust in the air on the surface of the leaves. When considering the characteristics of the bark, it is better to select trees that have cork layers or show or are likely to show the bark loosening or cracks than to select those with lenticel or patterned barks. This study is significant in that it presents the priorities of the selection criteria of plant material based on the visual characteristics that affect the adsorption of fine dust for the planning of planting to reduce fine dust in the urban area. The results of this study can be used as basic data for the selection of trees for plantation planning in the urban area.

Characteristics of Inclusive Playground Guidelines (통합놀이터 가이드라인의 특성)

  • Kim, Yun-Geum;Kim, Hana;Maeng, Soo-hyun
    • Journal of the Korean Institute of Landscape Architecture
    • /
    • v.46 no.6
    • /
    • pp.75-84
    • /
    • 2018
  • The inclusive playground is a playground where disabled children and non-disabled children can play together, not a playground for the disabled. It started with the change of social awareness of the citizenship rights of disabled people in the 1960s and the resulting playgrounds. Since then, inclusive playgrounds have been developed in many countries, and these are organized in the form by guidelines. In Korea, social interest in inclusive playgrounds is increasing, but there are no systematic guidelines in Korea, and the application of overseas cases or guidelines is limited. The purpose of this study is to classify the concept of inclusive playgrounds and design guidelines, that were previously presented in inclusive playground design guideline of various countries and analyze the characteristics of, design scope, and design principles, and provide a basic framework for creating guidelines. The purpose of the design guideline was to present specific numerical values to the inclusive playground design guidelines, to link with academic research and industrial products, to present pursuit values, and to expand the value of pursuing design methods. The contents were covered by scope, conceptualization, principles of design and design process, design guidelines, and checklists. Most of the guideline covers specific autonomous governments or countries that can apply the related systems or laws, but the composition of the detailed contents is different. The guiding value of inclusive playgrounds presented in each guideline is not a playground for the disabled but a playground for all, and some guidelines refer to the difficulty in playgrounds considering non-disabled children. Based on these concepts, design guidelines are presented in each guideline. Improving the accessibility in design principles is a common theme and adds to the principles of safety, independence, convenience, and playability. None of the guidelines do not provide design guidelines. Although there is a difference in the degree and method of specificity provided by each of the guidelines, the design guidelines can be generally summarized as space, copper line, and unit facilities. As mentioned in many guidelines, an inclusive playground is not only a playground for children with disabilities. Therefore, in the design guidelines, it is also important to the support play of children with disabilities and to induce inclusive play. The design guidelines presented in the guideline can be rearranged into three stages of 'supporting the play of children with disabilities', 'securing the dimensions and materials of spaces and facilities', 'adding auxiliary devices' and 'designing new facilities'. There are three design guidelines for inducing inclusive play. First, by creating various difficulty levels and intersecting spaces, children with various abilities can play with each other, and at the same time, they can interact witheach other. Second, all children can cooperate and play without distinction between children with disabilities and non-disabled children. Finally, the guardian provides the conditions for efficient support so that the disabled child can fully enjoy the inclusive playground.