• 기술발표회
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• 통권2006호
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• pp.220-231
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• 2006

Debris flows are a natural hazard which looks like a combination of flood, land and rock slide. Large rainfall in July 2006 produced several large scale debris flows and many small debris flows that resulted in loss of life and considerable property and highway damage, as was widely reported in the national media. The hazard "debris flow" is still insufficiently researched Furthermore debris flows are very hard to predict. In this paper, a general over view of the debris flow problems along the highway, a generic way for the design and dimensioning of flexible barrier systems will be presented. A brief description of the various unique barrier types will be provided, too. The future for these barrier concepts looks promising because these barriers represent the state of art for such applications and are superior to many other available options.

• 터널과지하공간
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• 제15권1호
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• pp.1-8
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• 2005

지금까지 국내에서 적용된 내공변위 계측은 수동식 시스템 혹은 계측 정밀도가 떨어지는 방법들로서 운영중인 터널에 적용하는데 한계가 있는 것으로 평가되어 최근 국내에 도입되고 있는 자동화 내공변위 계측 시스템들을 비교 분석하고 앞으로 운영중인 지하공간과 터널에의 적용성에 대해 검토하였다. 1. 광섬유 센서를 이용한 Sofo는 국내에서 터널 라이닝의 응력 측정에는 활용된 바가 있으나 아직 터널의 내공변위와 지중 변위의 측정에 적용된 실적이 없으며 앞으로 계측 자료의 신뢰도 및 시스템의 경제성 등에 대한 충분한 검토가 요구되고 있다. 2. 각도센서와 변위센서를 이용한 TPMS는 현재 국내에서 운영중인 터널인 천안-논산간 고속도로 차령터널과 지하철 터널 및 공동구 등에서 적용중이다. 3. BCS는 두 개의 각도 센서를 한 조로 이용하는 점이 TPMS와 다른 점으로서 거의 TPMS와 같은 특성을 지니고 있다. 앞으로 센서의 정밀도가 개선될 필요가 있으며 현장에서 아주 정밀한 교류 입력 전위차를 취득하는 데는 어려움도 있어 자동화 계측 가능여부가 검증되어야 할 것으로 본다. 앞으로 터널 시공 현장에 자동계측 시스템의 검증을 위하여 TPMS 및 BCS 등을 설치 및 운영하고 기술적인 문제를 보완함으로써 이를 시공중인 주계측 단면과 운영중인 터널에 적용하여야 할 것으로 본다.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 복식
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• 제59권2호
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• pp.154-168
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• 2009

This study aims on providing a design technique that expresses aesthetical elements by arranging the analysis of sensual beauty into detailed elements of design from music video outfits by genre of pop music, by observing music videos of female vocalists chosen from each genre of pop music focusing on their fashion. The results of this study are the following. 1. In the genre rock, the sensual beauty of female were expressed with a boyish and neutral style using texture such as leather or denim, and such style had the effect of emphasizing their feminine side even more. 2. In the genre dance music, exposure is extensive compared to other genre using sexy or lingerie look, and I found an ambivalent style of feminism with clothes in the form of drapery using textures such as chiffon and silk, and femme fatale style with textures adhering to the body such as leggings, leotard, and bodysuit. 3. In the genre of rap and hip-hop, clothes from casual and costume-play style were found using training jersey, t-shirt, and denim pants, and emphasized the sensual beauty of women by showing a silhouette with short length and fitting style using shiny textures. 4. In the genre of R&B, there were diverse outfits that suits the characteristics of characters appearing in the stories, or the situation of the story since there are many dramatic representation in the form of story Especially in case of female characters, the feminine side was emphasized staging a feminine style by wearing dresses with the texture of chiffon and silk. Exposure was restrained compared to other genre.

• 한국지반환경공학회 논문집
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• 제11권8호
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• pp.15-23
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• 2010

토석류는 사면 붕괴, 산사태, 홍수 등과 같은 인명 및 재산피해를 수반하는 자연재해의 일종이다. 2006년 7월 집중호우로 인하여 대규모 토석류가 발생하였으며, 이에 따라 고속국도, 일반국도, 철도 등의 국가 기간망이 통제되어 언론에 보도되는 사태가 발생하곤 하였다. 토석류에 대한 연구는 지금까지 충실히 수행되지 않은 것이 사실이다. 원인으로는 예측이 매우 어려웠을 뿐 아니라, 발생위치가 산지에서 주로 발생하였으며 도심지 및 주택가에서 발생하지 않아 국민들에게 부각되지 않았던 이유도 있다. 본 연구에서는 토석류를 방지하기 위하여 사방댐 등의 대책방안이 수립되어 적용되어 오고 있으나, 단점 및 보완점을 개발하여 새로운 기법을 적용하였다. 또한, 계곡부의 특성 및 형상에 따라 다단계의 유연성 시설물을 설치함하여 인명 및 재산피해를 최소화 할 수 있도록 고안하였다. 대상지역을 2개소 선정하여 적용성에 대한 평가를 실시하고 결과를 제시하였다. 연구결과, Site A, B 지역에 토석류 방지시설이 각각 17개와 13개가 설치요구되었다. 향후 토석류에 대한 체계적인 지침 및 방안에 대하여 정립해 나갈 필요가 있을 것으로 생각된다.

• Smart Structures and Systems
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• 제30권6호
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• pp.601-612
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• 2022

The prediction of structural mechanical behaviors is vital important to early perceive the abnormal conditions and avoid the occurrence of disasters. Especially for underground engineering, complex geological conditions make the structure more prone to disasters. Aiming at solving the problems existing in previous studies, such as incomplete consideration factors and can only predict the continuous performance, the deep attention fused temporal convolution network (DATCN) is proposed in this paper to predict the spatial mechanical behaviors of structure, which integrates both the temporal effect and spatial effect and realize the cross-time prediction. The temporal convolution network (TCN) and self-attention mechanism are employed to learn the temporal correlation of each monitoring point and the spatial correlation among different points, respectively. Then, the predicted result obtained from DATCN is compared with that obtained from some classical baselines, including SVR, LR, MLP, and RNNs. Also, the parameters involved in DATCN are discussed to optimize the prediction ability. The prediction result demonstrates that the proposed DATCN model outperforms the state-of-the-art baselines. The prediction accuracy of DATCN model after 24 hours reaches 90 percent. Also, the performance in last 14 hours plays a domain role to predict the short-term behaviors of the structure. As a study case, the proposed model is applied in an underwater shield tunnel to predict the stress variation of concrete segments in space.

• 복식
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• 제65권2호
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• 복식
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• 제61권8호
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• 미술자료
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• 제97권
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• pp.87-104
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• 2020

산률(山律) 선우영(鮮于英)(1946~2009) 필(筆) <금강산 묘길상도>(2000)는 국립중앙박물관이 소장하게 된 최초의 북한 화가 작품이다. 지금까지 알려진 <묘길상도> 가운데 가장 큰 종축(縱軸) 형식으로 크기가 세로 130.2cm, 가로 56.2cm에 이르는 지본수묵진채(紙本水墨眞彩) 그림이다. 선우영에 관하여는 최근 우리나라에도 수차례 개최된 전시회에서 비교적 잘 알려졌다. 그는 1989년 공훈예술가, 1992년 인민예술가 칭호를 받는 등 이른바 '진채세화(眞彩細畫)'의 대가로서 북한을 대표하는 화가가 되었고, 60여 점의 작품이 북한 국보로 지정되었다. 이 그림의 주제인 <묘길상> 마애불은 금강산 내금강 지역에 있는 만폭동 골짜기의 높이 40m 벼랑 아래에 15m 정도 크기로 새겨진 고려시대의 마애불이다. 이 마애불의 명칭은 마사연(摩詞衍) 동쪽에 있었던 묘길상암(妙吉祥庵)에서 유래한다. 마애불의 오른쪽 옆 바위에는 직암(直庵) 윤사국(尹師國)(1728~1709)이 쓴 '묘길상(妙吉祥)'이라는 큼직한 음각의 글씨가 새겨져 있다. 필자는 불상의 수인(手印)을 오른손과 왼손이 모두 엄지와 약지(藥指)가 만나는 하품하생인(下品下生印)과 비슷하지만 왼손이 아래를 향하고 있지 않고 오른손과 거의 직각을 이루며 복부에 놓여있으므로 설법인(說法印)으로 보았다. 즉 이 불상은 설법인을 결하고 있는 석가상(釋迦像)이라고 결론지었다. 선우영의 <금강산 묘길상도>는 조선시대 같은 주제의 그림들과 비교하면 불상의 자연 환경, 즉 벼랑 아래 감실에 새겨진 불상이라는 점과 불상이 인간의 모습이 아닌 암각상임을 수묵진채로 표현한 유일한 그림이다. 구도와 색감이 자아내는 초현실주의적 분위기 또한 이 <금강산 묘길상도>의 특징이라 하겠다. 이 그림을 포함한 선우영의 대부분 작품이 진채로 바위 질감을 사실적으로 표현한 그림이지만 그의 만년작 <파도>(2008)와 같이 전통적의 수묵화에 가까운 그림도 그렸던 폭넓은 작품 세계를 보여주는 화가이다.

• 한국지반공학회논문집
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• 제37권11호
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• pp.37-49
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• 2021

마이크로파일은 기초의 지지력 증대와 침하량 저감을 위해 건설분야에서 널리 활용되는 기초이다. 본 기초는 낮은 건설비용, 단순한 시공 프로세스와 비교적 작은 장비로 시공이 가능하다는 장점이 있다. 최근 지지력을 효과적으로 증대시킬 수 있는 선단확장형 마이크로파일이 개발되었다. 본 기초는 수직하중이 재하될 때 마이크로파일 선단부에 설치된 지압구가 팽창하여 주변지반에 작용하는 수평토압을 증가시키며, 이로 인해 기초의 지지력이 향상된다. 하지만, 현재까지 지압구 확장 메커니즘과 지지력 증대효과가 실험적으로 명확히 검증되지 않았다. 따라서, 본 연구에서는 지압구의 설치효과를 검증하기 위해 원심모형실험이 수행되었다. 이를 위해, 모래지반과 풍화암으로 구성된 지반을 각각 조성하고, 실제 선단확장형 마이크로파일에 대한 하중재하실험을 수행하였으며, 기초에 수직하중이 작용할 때 지압구 주변에 설치된 토압계를 통해 지압구의 팽창거동을 관찰하였다. 실험 결과, 30kN의 하중이 기초에 작용할 때 모래지반에서는 수직토압대비 수평토압의 증가량(∆σ_h/∆σ_𝜈)이 0.4 - 0.58의 범위를 보였으며, 풍화암지반에서는 ∆σ_h/∆σ_𝜈 = 0.19로 확인되었다. 본 결과를 통해 지압구 확장에 따른 수평토압 증가가 실험적으로 확인되었으며, 이로 인해 마이크로파일의 지지력이 증가될 것으로 판단된다.