• 대한기계학회논문집B
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• 제23권7호
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• pp.937-944
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• 1999

The near-wall flow structures of turbulent boundary layer over riblets having semi-circular grooves were investigated experimentally for the drag decreasing ($s^+=25.2$) and drag increasing ($s^+=40.6$) cases. The field of view used for tho velocity field measurement was $6.75{\times}6.75mm^2$ in physical dimension, containing two grooves. One thousand instantaneous velocity fields over the riblets were extracted for each case of drag increase and decrease. For comparison, five hundreds instantaneous velocity fields over a smooth flat plate were also obtained under the same flow conditions. To see the global flow structure qualitatively, the flow visualization was also performed using the synchronized smoke-wire technique. For the drag decreasing case ($s^+=25.2$), most of the streamwise vortices stay above the riblets, interacting with the riblet tips. The high-speed in-rush flow toward the riblet surface rarely influences the flow inside tho riblet valleys submerged in the viscous sublayer. The riblet tips seem to impede the spanwise movement of the longitudinal vortices and induce secondary vortices. The turbulent kinetic energy in the riblet valley is sufficiently small to compensate the increased wetted area of the riblets. In addition, in the logarithmic region, the turbulent kinetic energy are small or almost equal to that of a smooth flat plato. For the drag increasing case ($s^+=40.6$), however, the streamwise vortices move into the riblet valley freely, interacting directly with the riblet inner surface. The penetration of the high-speed in-rush flow on the riblets increases tho skin-friction. The turbulent kinetic energy is increased in the riblet valleys and even in the outer region compared to that over a flat plate.

• 설비공학논문집
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• 제17권10호
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• pp.914-921
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• 2005

In this study, the 1/20 reduced-scale experiment using Froude scaling were conducted to investigate the effect of longitudinal ventilation velocity on the burning rate in tunnel fires. The methanol pool fires with heat release rate ranging from 2.02 kW to 6.15 kW and the n-heptane pool fires with heat release rate ranging from 2.23 kW to 15.6 kW were used. The burning rate of fuel was obtained by measuring the fuel mass at the load cell. The temperature distributions were observed by K-type thermocouples in order to investigate smoke movement. The ventilation velocity in the tested tunnel was controlled by inverter of the wind tunnel. In methanol pool fire, the increase in ventilation velocity reduces the burning rate. On the contrary in n-heptane pool fire, the increase in ventilation velocity induces large burning rate. The reason for above conflicting phenomena lies on the difference of burning rate. In methanol pool fire, the cooling effect outweighs the supply effect of oxygen to fire plume, and in n-heptane pool vice versa.

• 한국터널지하공간학회 논문집
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• 제20권5호
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• pp.809-822
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• 2018

철도터널의 방재시설 설계 시 성능위주설계의 일환으로 화재위험을 정량적으로 평가하는 정량적 위험도평가기법이 도입되어 적용되고 있다. 그러나 각종 위험인자가 위험도에 미치는 영향을 검토하기 위한 연구는 부족한 실정이다. 이에 본 연구에서는 피난개시 시간지연(210~873초) 및 화재성장곡선(1량 화재, 1량 화재지속, 화재중첩)이 정량적 위험도 평가에 미치는 영향을 검토하기 위해서 모델터널(연장: 15 km, 경사도 1.5%, 단면적 $57m^2$, 단굴 양방향 터널)을 대상으로 위험도 평가를 수행하였으며, 다음과 같은 결과를 얻었다. 시나리오(270개)에 대한 분석결과, 사망자는 주로 화재연기의 이동방향과 동일한 방향으로 대피하는 경우가 발생하고 있으며, FED가 0.3을 초과한 후에는 최대 10분 이내에 최대인원이 사망하는 것으로 나타났다. 위험도가 비교적 낮은 범위에서는 피난연결통로간격 및 피난개시시간, 화재성장곡선이 위험도에 영향을 미치는 것으로 나타나고 있으나, 위험도가 한계치에 도달하는 조건에서는 이들의 영향이 거의 없는 것으로 나타났다. 특히 본 연구에서는 피난연결통로의 간격이 1,500 m 이상인 경우에는 피난개시시간지연의 축소나 화재강도 및 화재지속시간의 감소효과가 거의 나타나지 않는 것으로 평가되었다.

• 한국터널지하공간학회 논문집
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• 제12권1호
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• pp.43-49
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• 2010

도로터널내의 피난연락갱은 화재시 터널내 통행자의 안전성 확보를 위한 방재시설 중 하나이며 국내의 경우 500 m이상 터널에서는 250 m 간격 이하로 설치하도록 규정하고 있다. 그러나 이러한 일괄적인 피난연락갱 간격 산정은 터널내 풍속이나 구배, 화재강도 및 터널의 내공단면적 등 터널의 특성에 대한 고려가 되지 않기 때문에 과대 및 과소 설비가 될 우려가 발생한다. 본 연구에서는 터널 내 풍속 및 구배의 영향을 고려한 피난연락갱 적정간격 산정 방식을 제시하여 터널 설계시 피난연락갱의 효율적인 적용을 목표로 한다. 결과로 터널내 풍속이 0 m/s와 1.0 m/s의 경우 구배에 의한 영향이 뚜렷한 것으로 분석되었으나 2.0 m/s 이상의 경우 터널내 구배에 의한 연기의 이동은 큰 영향을 미치지 못하는 것으로 나타났다. 터널 내부 기류속도 및 터널 구배에 따른 적정 피난연락갱 간격이 상이하게 나타나 250 m 간격인 기존의 일괄적인 피난연락갱 간격 산정이 아닌 터널 내 풍속이나 구배, 화재강도 및 터널의 내공단면적 등 터널의 특성에 대한 고려값을 적용한 적정 피난연락갱 산정이 필요하다.

• 한국연극학
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• 제53호
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.