3D 콘크리트 프린팅 기술은 거푸집 없이 콘크리트를 출력하고 제작하여 콘크리트 표면의 대부분이 외기에 노출되고, 이로 인해 콘크리트 내부 수분이 빠르게 증발하고 수축이 크게 발생한다. 또한, 결합 재 대비 낮은 골재 함량과 낮은 물/결합재 비(W/B)를 가지는 사용 배합의 특성상 수축으로 인한 균 열이 발생하기 쉽다. 이러한 3D 콘크리트 프린팅의 수축에 대한 문제는 섬유 혼입을 통해 해결할 수 있고, 부가적으로 적층성 향상의 이점을 얻을 수 있다. 본 연구에서는 이러한 섬유 보강 3D 프린팅 모르타르의 역학적 특성을 살펴보고자 섬유 혼입률을 변수로 실험하였다. 보강 섬유로는 PP섬유를 사 용하였고, 섬유 혼입률 0, 0.2, 0.5, 0.8%를 변수로 실험하였다. 갠트리 방식의 3D 프린터에 30 × 30 mm 사각형 개구부를 가진 노즐을 설치해 1300× 800mm 크기의 직사각형 형태로 모르타르를 출력 하였다. 호퍼 회전속도 6 rpm, 노즐 이동 속도 1500 mm/min을 적용하여 출력하였고, 1층 높이를 30mm로 출력하여 5층 적층하였다. 적층 완료 후 압축강도, 휨인장강도, 층간 부착강도를 측정하기 위 한 시험체를 각각 추출하였고, 28일 수중 양생 후 각 강도실험을 통해 역학적특성을 평가하였다.

3D 프린팅 콘크리트는 임의의 형상을 자유롭게 적층하여 제작할 수 있다는 장점을 가지고 있지만, 노즐의 구조 및 형상에 따라 곡선부의 출력 품질이 달라진다. 또한, 공기중에서 출력한 경우와 수중에 서 출력한 경우 그 품질이 달라진다. 본 연구에서는 고정 마감날을 가진 사각형 노즐을 이용하여 3D 프린팅 모르타르를 수중에서 곡선 형태로 출력하고 적층한 후 출력성능, 적층성능, 및 역학적성능을 평가하였다. 30 × 30 mm 사각형 개구부를 가지고 있고 노즐 끝 양 측면에 고정 마감날이 설치된 노 즐을 사용하였다. 사전 직선 출력시험에서 선정된 조건인 호퍼 회전속도 14 rpm, 노즐 이동 속도 2000 mm/min을 적용하여 출력하였고, 1층 높이를 30mm로 출력하여 5층 적층하였다. 출력 및 적층 결과, 직선부분의 표면은 양호한 반면 곡면부분, 특히 곡률이 큰 곡선부분의 바깥쪽에서 표면균열이 관찰되었다. 직선부분의 치수 일관성은 양호한 반면, 곡률 반경이 작은 곡선부분의 폭 차이가 나타났 다. 곡선부분의 밀도와 압축강도는 직선부분보다 낮았다. 이는 곡선부에서 직사각형 노즐 회전에 따른 재료 토출이 불균일하기 때문인데, 이러한 문제점을 보완할 수 있는 제어 기술 개발이 필요하다.

The blockage rate for three kinds of nets commonly used in agricultural facilities was assessed by using the image acquisition and its relevant processing. By using both empirical relations presented by Idel’chik and Richards and Robinson, and the blockage rate obtained from the image processing, the pressure drop through the nets was predicted and also compared with wind tunnel experiment results. The results of the study showed that the blockage rate of the net was discriminated according to such factors as the magnitude of nets, the existence of inside threads, the thickness and number of threads. In addition, the blockage rate for the incident angle of 0° when the wind blew at the front had the range of 0.22－0.29 (0.22－0.32 when considering whole incident angles from 0° to 45° by 15°). For the nets with the blockage rate of about 30% or below, the prediction by the empirical relations of by Idel’chik and Richards and Robinson showed a little higher pressure drop overall than that of the wind tunnel test, but the use of the empirical relations and the blockage rate could be thought of as providing effectively meaningful guidelines for the safe design of agricultural facilities including nets because the wind tunnel test has been tedious and expensive. Further research and potential application on the prediction technique of the pressure drop, regarding both a subtle deformation by the wind and manufacturing methods with regard to the level of knots and the existence of inside threads, needs to be done for the nets with higher blockage rate.

There are records and claims that tung oil was applied to Korean traditional buildings and furniture as finishing paint. Records of the use of tung oil(桐油) exist in the Annals of the Joseon Dynasty(朝鮮王朝實錄) and The Royal Protocols of the Joseon Dynasty(朝鮮王朝儀軌). However, there is also a claim that tung oil was not produced in Korea on its own, and that tung oil was not applied to important buildings such as palaces. Silhak scholar(實學者) Seo Yu-gu says that in Korea, people do not know how to grow tung trees, and boiled perilla oil is called tung oil. If tung oil was used in the Joseon Dynasty, it would be necessary to use tung oil for waterproof coating to preserve current architectural heritage, otherwise, tung oil coating would not be desirable. Analyzing the Yeonggeon Uigwe(營建儀軌) among the Joseon Dynasty's Uigwes shows that tung oil is neither mentioned nor used. In addition, as a result of analyzing the Uigwes mentioned in tung oil, it was found that perilla oil or Myeongyu(明油), not tung oil, was recorded in the actual material used. Therefore, the records of the use of tung oil during the Joseon Dynasty can be seen as records using Myeongyu(明油) or Beopryeon perilla oil(法煉荏油).

Gachiljang(假漆匠), along with Jinchiljang(眞漆匠), is an important craftsman who cannot be left out during the finishing process of wooden furniture and wooden buildings during the Joseon Dynasty. The current definition of Gachiljang does not properly explain the nature and role of Gachiljang. In many related terminology dictionaries, Gachiljang is defined as “artisan who dose the base paintwork of Dancheong." But an analysis of the Joseon Dynasty's Uigwe(儀軌) shows that Gachiljang appears frequently in works that are not related to Dancheong at all. Therefore the current definition seems to be inaccurate and need to be revised. Gachiljang is a name that contrasts with Jinchiljang, and he makes and paints Myongyu(明油). Just as Jinchiljang uses not only lacquer but also various pigments to paint colorful lacquer, Gachiljang also uses various pigments to decorate buildings or furniture in a fancy way and then finishs with a transparent paint. Even in the Dancheong(丹靑) work of the building, all the base painting and finish coating work will be in charge of Gachiljang, except for the paintings performed by the Whawon(畫員) or the Whasa(畫師).