• Structural Engineering and Mechanics
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• 제56권4호
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• pp.667-694
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• 2015

The suspended dome system is a new structural form that has become popular in the construction of long-span roof structures. Suspended dome is a kind of new pre-stressed space grid structure that has complex mechanical characteristics. In this paper, an optimum topology design algorithm is performed using the enhanced colliding bodies optimization (ECBO) method. The length of the strut, the cable initial strain, the cross-sectional area of the cables and the cross-sectional size of steel elements are adopted as design variables and the minimum volume of each dome is taken as the objective function. The topology optimization on lamella dome is performed by considering the type of the joint connections to determine the optimum number of rings, the optimum number of joints in each ring, the optimum height of crown and tubular sections of these domes. A simple procedure is provided to determine the configuration of the dome. This procedure includes calculating the joint coordinates and steel elements and cables constructions. The design constraints are implemented according to the provision of LRFD-AISC (Load and Resistance Factor Design-American Institute of Steel Constitution). This paper explores the efficiency of lamella dome with pin-joint and rigid-joint connections and compares them to investigate the performance of these domes under wind (according to the ASCE 7-05), dead and snow loading conditions. Then, a suspended dome with pin-joint single-layer reticulated shell and a suspended dome with rigid-joint single-layer reticulated shell are discussed. Optimization is performed via ECBO algorithm to demonstrate the effectiveness and robustness of the ECBO in creating optimal design for suspended domes.

• 복식
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• 제50권3호
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• pp.31-42
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• 2000

This study investigated the history of whakwan (crown, 화관(花冠)) and classified the types of whakwan accordint to its structure. Whakwan seemed to originate from the custome of sticking flowers in the hair which was the reflection of human desire of pursuing the beauty . The whakwan fist appeared in the Oriental painting during the Tang period and became fashionable is Song. It is not clear when whakwan was introduced into Korea, but is assumed to be greatly influenced by the Song whakwan. The Korean record on whakwan showed on whakwan showed fro the fist time in the reign of Kimg Sejong and whakwan was used for the costume of a dancing boy. Through the present type of whakwan appeared only one in the painting of the reign of King Seonjo, there are a number of whakwans in the lattern part of the Chosun dynasty, Now there exist three types of whakwan in Korea. The first type is similar to that of Chokduri in decoration . But it was made of paper, had the double structures of inner and outer part and was decorated by Yangkwan's vertical lines of gilt paper. The second type is the whakwan made of artifical flowers with various color cords and was widely used in Geesung and Pyungyang regions. Finally, though the third type is similar to Sabangkwan, its outside was decorated gaudilly iby Dangchae (colorful painting ) and it was assumed that dancing bodys put it on their head for various banquets. Out of these three types, the first is most representative , Black was the popularly used color for the first type and this type was used either for brides on wedding ceremonies or for shamans or palace dancers. The second type was widely used in Gaesung and Pyungyang regions. But the differences in the shape of whakwan of the two regions showed the regional characteristics of traditional costumes in Korea. The third type was most likely to be used in the dance for palace banquets, but it is necessary to further investigate whether shamans actually wore this type of whakwan.

• 복식
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• 제50권7호
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• pp.15-31
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• 2000

1. After the Chu Dynasty(周代), we can confirm the fish shape mark made of stones as the relics of the Chunkuk dynasty(戰國時代). In the Shu Dynasty(隋代), the system of bamboo and the rabbit shape mark made of silver into the fish shape mark. As it were, made of bamboo or siltier changed into the fish shape mark made of jade, gold, silver or wood. 2. In the Dang Dynasty(唐代), the used the fish shape credit mark made of jade, gold, silver, copper or textile, according to their classes. According to one's posit the man who wore purple, red coat, credit mark made a gold and silver. attached with putting them in fish bags. 3. In the Ryo Dynasty(遼代), there was also a system of attaching marks. The emperor was hanging the fish shape and the officials attached the double fish shape to the common dress. fish shape of jade. gold, amber, agate, silver or copper. without any fish bag. 4. The Song Dynasty(宋代) followed the system of the Dang Dynasty they used only the fish shape bags without marks in them. Hanging the fish shape bags made of gold and silver at the back side of the belt. 5. The Gin Dynasty(金代) carried out the system of made jade, gold or silver like the Dang, Song and Ryo Dynasty. In the Sejong Kingdom a system of paper card was carried out as the credit mark of the eighth and the ninth grade. 6. In the Ming Dynasty(明代), the military official general attached the golden, silver, ivory of jade, wood and copper cards with their positions and names. 7. Following the Dang Dynasty, Japan made of fish shape bags to their clothes. Colors of their fish shape marks were same as their clothes. They made the marks, such as crystal, cow's horn, lead and nickel and plated them with gold or silver. 8. In Korea, Pohai(발해) established the fish shape credit mark differed in material. gold, silver or copper according to their positions. We can confirm the Unified Silla(南國;統一新羅), carried out the system of attaching the fish shape in Chonma Chong(천마총), Golden Crown Chong(金冠塚), the King's 13-17 belt ring unearthed at the north part of Court South threat Chong(황남대총), the fish shape golden or silver, to their purple or red ceremonial coats. In the Koryo Dynasty(高麗), like the Dang, Song and Pohai, they attached the fish shape golden or silver marks, to their purple or red ceremonial coats.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
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• 제27권1호
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• pp.46-53
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• 2001

The prevalence of supernumerary teeth is between $1{\sim}3%$. Of these, $90{\sim}98%$ occur in the maxilla with particular predilection for the premaxilla, preceded by mandibular third premolars, mandibular forth molars and maxillary paramolars. The most common ones occur in the maxillary anterior region, they may occur singly between the central incisors(mesiodens), or they may be double(mesiodentes). Maxillary anterior supernumeraries may erupt into the oral cavity or remain unerupted. It is found that approximately 25% are erupted, while the rest are unerupted. They are usually a small tooth with a cone-shaped crown and a short root. They may cause delayed eruption, median diastema, bodily displacement or rotation of the adjacent permanent teeth. Occasionally they may lead to the developement of dentigerous cyst or primordial cyst, or eruption into nasal cavity. In this study, 109 supernumeraries surgically extracted from premaxilla in 84 patients are analysed. The results are as follows : 1. Sex distribution of male and female is 2.2 : 1. 2. Almost cases are in pediatric age from 5 to 12 years old (87%). 3. Problems with supernumeraries are tooth malpositon, diastema, delayed eruption, eruption to nasal cavity and cyst formation. 4. Of 109 supernumeraries, 16(15%) are erupted into oral cavity, 92(84%) are impacted, and 1(1%) is erupted into nasal cavity. 5. Of 84 patients, 59(70%) have one supernumeray while 25(30%) have two supernumeraries. 6. Of 109 supernumeraries, 96(88%) are found within the region of the central incisors. 7. Of 109 supernumeraries, 94(86%) are vertically impacted, 11(10%) are horizontally impacted, 3(3%) are labiopalatally impacted and 1(1%) is impacted in nasal cavity. 8. Of 84 patients, we used palatal flap in 67(80%), labial flap in 6(7%), both flaps in 4(5%) and no flap in 7(8%). And incisive nerve was cut in 33(49%) of 67 palatal flaps. 9. Extration with ostectomy was done in 72 supernumeraries(66%), without ostectomy in 37 teeth(34%). 10. Extraction with tooth sectioning was done in 21 supernumeraries(19%), without tooth sectioning was done in 88 teeth(81%). 11. We used local anesthesia in 70 patients(83%) and general anesthesia in 14 ones(17%).

• Parasites, Hosts and Diseases
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• 제36권2호
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• pp.91-98
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• 1998

이 연구는 자연계 및 실험실 내 조건 하에서 오리극구흡충의 생활사를 관찰하기 위하여 수행하였다. 1992년 8월과 9월에 부산시 강서구에 소재하는 선암천에서 다랑의 물달팽이 (Rndix owe,cdwiacoreona)를 채집하였다. 채집한 물달팽이 중 106개를 파쇄법으로 조사하였던 바, 52개 (89.0%)에서 오리극구흡충의 유충 (레디아, 유미유충, 피낭유충)이 한 종류 이상씩 검출되었다. 물달팽이로부터 자연 유출되는 유미유충을 접촉감염시킨 물달팽이, 논우렁 및 미꾸리 중 물달팽이와 미꾸리에서 피낭유충이 검출되었다. 물달팽이로부터 검출한 피낭유충을 경구감염시킨 병아리, 오리, 흰쥐, 마우스 중 병아리와 오리에서 성충이 검출되었다. 물달팽이로부터 검출한 피낭유 충을 경구감염시킨 병아리에서의 충체 회수율은 평균 13. 1%이었다. 레디아는 주머니 모양으로 평균 $2.437{\;}{\times}{\;}0.317{\;}mm$ 크기이었으며 근육성의 인두와 체장의 약 112 부위까지 내려와 있는 맹장을 하나씩 갖고 있었다. 유미유충의 체부위는 방추형으로 평균 $0.262{\;}{\times}{\;}0.129{\;}mm$ 크기이었고, 꼬리부위는 긴 막대모양으로 평균 $0.528{\;}{\times}{\;}0.056{\;}mm$ $\times$ 크기이었다. 유미유충의 체부위에서는 45개의 두극이 배열되어 있는 두관과 미세한 과립을 다수 보유하고 있는 배설관이 특징적으로 관찰되었다. 피낭유충뜬 구형으로 평균 $0.144{\;}{\times}{\;}0.142{\;}mm$ 크기이었으며 2중의 낭벽을 가지고 있었다. 성충은 비교적 길쭉하였고 평균 $0.2760{\;}{\times}{\;}0.550{\;}mm$ 크기이었으며 두관에는 특징적인 45개의 두극이 배열되어 있었다. 이상의 결과로 우리 나라에서 물달팽이가 오리극구흡충의 제1 및 제2중간숙주로서 생활사 유지에 중요한 역할을 수행하고 있음을 확인하였다.

• 대한치과보철학회지
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• 제61권4호
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• pp.367-378
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• 2023

최근 CAD-CAM (computer-aided design-computer-aided manufacturing) 기술 및 3D 프린팅 기술의 발전과 함께 다양한 디지털 기법들의 도입으로 top-down 방식의 최종 보철 수복의 정확성과 효율성이 증대되고 있다. 본 증례는 전후 엇갈린 교합을 가진 환자에서 총 9개의 상하악 구치부 임플란트 식립을 통해 안정적인 교합 지지를 얻으면서 잔존 치조골의 고도 흡수 경향을 보인 상악 전치부 무치악 부위는 케네디 4급 임플란트 보조 국소의치로 수복함으로써 연조직의 심미성을 회복하였다. 전산화단층촬영 가이드 수술로 계획된 위치에 임플란트를 식립하고, 이중 스캔 기법으로 임시 수복 단계에서 안정화된 교합을 최종 보철물에 반영하며, 코핑과 프레임워크를 금속 3D 프린팅으로 제작하여 효율적이며 예측 가능한 top-down 방식의 전악 구강 수복을 달성하였기에 이를 보고하고자 한다.

• 헤리티지:역사와 과학
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• 제56권1호
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• pp.22-43
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• 2023

본 논문은 만공이 1924년에 조성한 정혜사 석조관음보살입상에 대해 다루고 있다. 정혜사 석조관음보살입상은 만공이 제작한 현존하는 가장 이른 시기의 불상으로, 정혜사가 중창되는 과정에서 상징성이 부여된 작품이다. 지금까지 만공이 주도한 불사와 구체적 유물을 통해 사상과 신앙에 접근한 연구는 없었다. 본 연구에서는 만공이 남긴 법어와 일화 및 일제강점기 신문기사 등을 활용하여, 만공이 주석하던 시기 정혜사와 수덕사의 역학 관계를 추적하고 대형 보살상 조성으로 얻은 효과와 그 조성 위치가 갖는 의미에 대해 고찰하였다. 이를 위해 당시 조각을 담당했던 석장 후손과의 면담을 시도하여 정확한 공사 기간과 장인의 명단을 확인하였다. 정혜사 석조관음보살입상에서 보이는 이중보개와 방형보관, 신체에 비해 크게 표현된 손, 두부와 신체의 비례, 석주(石柱)와 같은 체구에서 느껴지는 괴량감 등은 관촉사 석조보살입상에서 영향을 받은 것으로 판단하여 고려 초기에 제작된 관촉사 석조보살입상이 어떻게 근대기 보살상 조성에까지 영향을 미칠 수 있었는지에 대해 살펴보았다. 또한 일제강점기 철도 부설을 계기로 시작된 관촉사 참배와 1929년에 개최된 조선박람회에서 충남을 대표하는 상징으로 활용된 관촉사 보살상의 이미지가 양식의 계승과 변용이라는 관점에서 어떻게 활용되었는지 다각적인 분석을 시도하였다. 본 연구를 계기로 근대기를 대표하는 선사 만공에 대한 이해와 근대기 한국 불교조각 연구의 지평이 넓어지길 기대한다.