• 한국의류산업학회지
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• 제10권4호
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• pp.566-571
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• 2008

Frictional sounds of 8 vapor permeable water repellent fabrics by sound generator were recorded and analyzed through FFT fast Fourier transform analysis. The frictional Sounds were quantified by calculating level pressure of total sound(LPT), the level range(${\Delta}L$) and the frequency difference(${\Delta}f$). Mechanical properties were measured by KES-FB. LPT values of specimens finished wet coating were higher than those of other kinds of finishing. ${\Delta}L$ values of specimens laminated were highest. Absolute values of ${\Delta}f$ were high in the cire finished and laminated specimens. Values for bending rigidity, shear stiffness and energy required for the compression of coated specimens increased compared with the cire finished and laminated specimens. Laminated specimens had high values of frictional coefficient and low values of surface roughness. Relationship between frictional sounds and mechanical properties analysed by use of correlation coefficients and stepwise regression. LPT showed significant correlation with elongation, tensile energy, geometrical roughness, weight and thickness. ${\Delta}L$ was highly correlated with tensile linearity, frictional coefficient, and ${\Delta}f$ with tensile linearity, weight and thickness. LPT were revealed to be explained by elongation and weight. ${\Delta}L$were predicted by tensile linearity, and ${\Delta}f$ by tensile linearity and thickness.

• 한국공간구조학회논문집
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• 제16권2호
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• pp.39-45
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• 2016

Membrane structure is a system that is stabilized by maintaining a tensile state of the membrane material that originally cannot resist the bending or pressure. Also, it is a system that allows the whole membrane structure to bear external loads caused by wind or precipitation such as snow, rain and etc. Tension relaxation phenomenon can transpire to the tension that is introduced to the fabric over time, due to the innate characteristics of the membrane material. Thus, it is important to accurately understand the size of the membrane tension after the completion of the structures, for maintenance and management purposes. The authors have proposed the principle of theoretically and indirectly measuring the tension by vibrating the membrane surface with sound waves exposures against the surface, which is compartmentalized by a rectangular boundary, and by measuring the natural frequency of the membrane surface that selectively resonates. The authors of this paper measured the tension of preexisting membrane structure for its maintenance by using the developed portable measurement equipment. Through analyzing the measurement data, the authors review the points that should be improved and the technical method for the new maintenance system of membrane tension.

• 산업공학
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• 제18권2호
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• pp.158-166
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• 2005

Human-error and mental stress caused by psychophysiological dissonance between people and artificial environments have become a social problem. And it is a common knowledge that comfort environment reduces human-error and mental stress. Comfort sensibility is related to complex interactions between fabric, climatic, physiological and psychological variables. Currently, comfort sensibility has been evaluated by many sensory tests. However, it is difficult to evaluate comfort sensibility because a concrete concept of comfort sensibility is hard to define. In this paper, we propose a model to evaluate the comfort sensibility using Fuzzy-weighted score on an individual's subjective state for the stimulus. To represent the degree of comfort sensibility level for the stimulus, we represent comfort sensibility using 2 dimensional sensibility vector model. And we use the fuzzy-weighted score that is a fuzzy version of the weighted checklist technique computerized for evaluating the subjects. As an example, this model is applied to 1/f fluctuation sound evaluation. The results show that this model can be effectively used to the quantitative evaluation of comfort sensibility for the stimulus.

• Composites Research
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• 제29권3호
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• pp.117-124
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• 2016

본 연구에서는 스카프 패치로 수리한 복합재 단일겹침 체결부의 파손강도를 시험과 해석으로 연구하였다. 스카프 비, 모재의 적층패턴, 결함크기를 달리 하며 총 45개의 시편에 대한 시험을 수행하여 파손강도와 파손모드를 분석하였다. 다양한 형상의 시편에 대한 시험 결과, 한 경우를 제외하고는 수리 후의 체결부가 결함이 없는 체결부 강도 이상의 강도를 회복하며, 체결부 인자에 따른 특별한 차이는 나타나지 않는 것을 확인하였다. 파손강도가 낮게 나타난 한 경우에 대한 파손면 분석결과 모재의 표면층인 평직층의 표면처리가 충분치 않은 것이 원인인 것으로 판단되었다. 시험 결과의 분석을 위해 3차원 유한요소해석을 수행하였는데, 유한요소해석에서도 고려한 체결부 인자가 상하부 모재와 패치, 접착층에서의 응력에 큰 영향을 미치지 않는 것을 확인하였다. 이는 단일겹침 체결부의 경우 외부 인장하중이 겹침영역을 통과하면서 상하부 모재로 분산되기 때문인 것으로 판단된다. 시험과 해석 결과 모재 중앙에 결함이 존재하는 단일겹침 체결부의 경우 절차에 따라 패치 접착이 이루어지고, 모재의 표면처리가 충분히 이루어진다면 수리를 통해 손상 전 강도를 회복할 수 있는 것으로 판단된다.

• 감성과학
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• 제5권2호
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• pp.23-28
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• 2002

본 연구에서는 의류용 직물의 소리와 변환색채의 특성을 분류하고, 역학특성과의 관계분석을 통해 직물의 역학적 특성과 소리 그리고 변환색채와의 관계를 상관분석하고자 하였다. 다양한 의류용 직물의 스치는 소리를 녹음한 후 소리의 물리량으로 군집분석을 하였으며, Okamoto와 Mori의 색채변환 프로그램을 이용하여 직물의 소리를 색채로 변환하였다. 직물의 소리는 각각 silky, crispy, paper-like, worsted, flax의 다섯 그룹으로 나뉘었다. Silky는 매끄럽고 부드러운 견직물 등으로 구성되었으며, LPT(소리의 음압), $\Delta$f, ARC값이 군집 중 가장 낮아 심리 음향학적 loudness(z)와 sharpness(z)가 제일 낮은 조용한 직물들로 나타났다. 변환된 색채는 홍색 계열이었으며 색채 빈도수가 가장 많았다. raper-like는 뻣뻣하고 파삭파삭한 직물들로 LPT, $\Delta$f ARC값이 군집 중 가장 높아 loudness와 sharpness가 높은 시끄러운 직물들로 나타났다. Worsted는 모직물과 모직물 느낌의 직물들로 LPT, $\Delta$f, loudness값이 paper-like다음으로 높은 값을 보였으며 sharpness는 유사했다. Paper-like와 worsted의 변환된 색채는 청색 계열이 주류를 이루었으며 매우 낮은 색채 빈도수를 나타냈다. Crispy는 표면이 까실까실한 느낌의 직물들로 loudness(z)와 sharpness(z)의 값은 높지 않았으나 변환된 색채는 다양한 색채계열과 빈도수를 나타냈다.

• 한국음향학회지
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• 제28권8호
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• pp.781-789
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• 2009

다목적홀의 음향을 1:50 축소모형으로 예측 및 평가하기 위해 필요한 모형재료의 구성과 흡음특성에 대해 연구하였다. 실제 홀에서의 반사면 및 가변음항요소, 객석의 설계요소별 흡음특성 (125Hz-lkHz 평균)을 기준으로 축소모형의 형상과 재질을 선정하였으며, 흡음율은 상사의 법칙과 ISO 354를 준용하여 측정하였다. 그 결과, 주벽체의 평균흡음율은 0.08로 래커 코팅된 MDF나 아크릴이 적합하며, 객석 의자, 관객 및 연주자 평균흡음율은 각각 0.64, 0.74와 0.45를 목표로 할때 목재, 흡음천과 폼보드를 조합하여 흡음률을 재현하였다. 흡음커튼과 배너는 적용부위 및 단면설계에 따라 흡음재의 마운팅 방법을 선택하였으며, 배면공기층이 없는 상태 (A형 마운팅)에서의 평균흡음율이 0.42, 0.9 m 배면공기층 조건에서 시료 양단이 고정된 상태 (E형 마운팅)에서는 0.47, 천장에 매단 상태 (G형 마운팅)에서는 0.45로 나타났다. 특히, 배면공기층의 증가에 의해 저주파 대역 흡음력이 증가하였다. 스테이지 하우스 내부는 평균흡음율 0.68의 Fiber glass board 시공을 예상하여 흡음재와 스피커망 원단을 조합하여 재현하였다. 본 연구에서 도출된 모형 재료의 형상과 흡음특성은 향후 1:50 축소모형으로 다목적홀의 형상에 의한 중주파 대역 이하의 음향예측에 유용하게 활용될 것으로 사료된다.

• 패션비즈니스
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• 제6권1호
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• pp.137-154
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• 2002

It's not easy to renew old brand of over 50 years history to the tastes of new consumer of our time. Most of national brands that has a history of some 20 years in Korea have strove for continuation and growth of brand to no avails, which can be taken as a good example of current situation. For instance, C company, one of the National brand of US which has a history of 51 years, has made its position secure as a fashion group and based itself on a sound foundation by establishing new marketing strategy and completing successful brand renewal in the process of strategic M&A with Italian company. Those successful marketing strategies are as follows. 1) they regarded both market and consumer oriented marketing activity as company's highest priority strategy and put great emphasis upon concentration on target market and reestablishment of brand image of business casual wear. 2) Setting up and operating planning team composed of merchandizer alone in Milano, they set the direction of plan on the basis of concentrated research on potential item in market according to thorough market research done by buying office in Korea, branch office in Hong Kong and buyer in US prior to blueprint planning for season. 3) Great emphasis was placed on business which focused on intensive presentation of basic key item for apparel career women who are main consumer group in the midium-low prices market in US and on supplementation of size and color. they named this line 'collectibles' and helped their customer develop their own clothes plan without worrying about the change of color and fabric by supporting same fabric and color throughout the year and enabled them to add variation easily by supplementing new trend item. 4) Company set black as a main color that lots of apparel career women find easy to care and to express their own image and presented them with pebble which belongs to navy and beige and added fashion color such as wine and brown etc as season goes by. They constructed basic line in order for their customers to coordinate purchased item with new one or to add them to present collection, and to achieve efficient sale by setting up strategy which allows this cross coordination and changing pattern occasionally. 5) Though basic jacket for 99$, short slim skirt for 49$ are products within midium-low prices range, in the material planning stage aiming at production of item that has both resonable function appealing to consumer and is fashionable, synthetic material had to be used as a main source due to price competitiveness. Despite this situation, considering comfortable sense of fit and refined drape of silhouette that has no sign of cheap material, whole collectible line was divided into two items, which contributed to reduction of cost. In case of material that is composed of triacetate and polyester in 70 to 30 ratio, was used up to 4 million yard, which allowed drastic curtailment of cost accompanied by concentration. In case of 'collectibles' line, using Korean material mainly, C company chose to have their product sewed in Southeast Asian countries where transportation is well developed and both productivity and quality verified by operating global production system which aiming at cutdown of cost through outsourcing production from the country where labor cost is low and getting finished product. Polarization between present consumers telling us that consumers with the mind of middle classes in the past no longer exists between consumers who seek after only fine article of highest quality and wise consumers who are sensible enough to judge bubble on correlation between price and quality. To cope with this change in new consumer mind, apparel makes changing their policy so as to produce item that has reasonable quality and falls within affordable price range anywhere in the world. and they're striving to get out of difficult situation by operating global marketing strategy which stresses separation of planning, production and sale and sensibility of fashion shared worldwide. The marketing strategy of C company can be exemplified as a successful one.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.