본 연구는 적작약 꽃 추출물의 활성산소 억제와 항염증 및 MMP-1 발현 억제능 효과에 관해 알아보고 기능성 화장품 소재로써의 가능성을 확인하고자 하였다. 본 실험 방법으로는 세포 내 ROS 측정을 통한 활성산소 억제효과와 세포 독성 평가 및 항염증 측정, HDF 세포에서의 MMP-1의 발현 억제능 효과를 측정하고자 하였다. 실험 결과, RAW 264.7 세포와 HDF 세포 내에서 ROS로 억제효과를 확인하였고, 세포 독성평가는 적작약 꽃 추출물 5, 10 μg/mL 처리 농도에서 90% 이상의 세포 생존율, 그 외 처리 농도에서는 80% 이상의 세포 생존율을 확인하였다. 또한 RAW 264.7 세포에서의 NO 생성 억제와 HDF 세포에서 MMP-1의 발현 억제능이 유의하게 억제되는 것을 확인하였다. 이상의 결과를 종합하면, 적작약 꽃 추출물의 세포 내 ROS 생성억제와 NO 생성 억제로 항산화와 항염증 효과, 피부세포에 대한 낮은 독성, MMP-1의 발현 억제를 통한 노화 효과가 확인됨에 따라 기능성 화장품 소재로써의 활용 가능성을 확인할 수 있었다.

The advancement of industry and science in modern society has facilitated the inherent growth of humanity due to the provisions of large amounts of information and knowledge. Deconstructionism originated from the desire for self-expression rooted in the inherent growth of humanity and desires to express various characteristics through deconstruction and not be classified and constrained by existing dichotomous structures and forms. Deconstructism (an idea to resist dichotomous ideas and existing structuralism) seeks androgyny as well as the deconstruction of sex vis-à-vis human desire. Human androgyny, inherent in history and ancient Greek myths (Kwon, 2002), is now being adapted by modern society, psychology, culture, and art (Han & Kim, 2012). Androgyny, adapted by literature, sculpture, and painting, is now being used by the production of various images as well as modern fashion costumes. It is necessary to study androgyny to provide an aesthetic value for modern fashion design that can also deeply analyze the ideas and philosophies of fashion designers. This study considers androgyny with a focus on deconstructive fashion, understanding the tendency of androgyny in modern fashion, and providing a reference material for future fashion designs as well as for the direction and development of various fashion accessories and hair accessories. This study uses internet resources and previous research from professional journals and books about deconstructionism and androgyny for a literature review. It adapts an empirical method based on visual images from the design collections of designers defined as deconstructive fashion designers by researchers and professional editors. The androgyny of deconstructive fashion is classified in this study as follows. The first are ambiguous designs that show no clear distinction between sexes. The designers show designs unconstrained by sexes and which seek human instinct through wearing fashion items of the opposite sex that use masks and express sexual ambiguity with makeup and costumes. The second is integration shown in designs with both masculine and feminine characteristics. The designers integrates the lines and details of the opposite sex with costumes and patterns to escape existing ideas and show a silhouette that eliminate sexual stereotypes. The third is deconstructivity as shown in designs with no sexual characteristic and no sexual concept. It is a trend that originated from the interpretative view that adapts the super realism of deconstructionism and is free from an existing aesthetic consciousness to deconstruct a sex role for existing costumes and refuse all standardized ideas; consequently, the roles of costumes and items are eliminated and a new fashion style emerges from the individual values and ideas of designers. The androgyny of modern fashion from deconstructionism diverges from traditional form, integrates with aesthetic factors, and becomes one of a modern style that also provides more creative design motifs for fashion designers.

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

콘크리트 구조물이 점차 대형화, 고층화됨에 따라 지하구조물이 증가하고 있으며 지하실, 지하상가, 지하주차장, 지하철 등 그 종류 또한 다양해지고 있다. 이에 따라 지하구조물에 사용된 방수공법으로는 아스팔트계, 가황고무계, 점착형 시트재 등의 시트계 방수재를 이용한 외 방수공법을 주로 사용하였으나, 조인트 부분, 균열 발생 시 방수층의 파단 등 시트 방수공법의 문제점이 나타나 최근 방수층이나 외벽방수 의 품질 확보와 구조물 거동에 대한 하자 발생률을 줄이고자 아스팔트 씰과 아스팔트 방수시트를 복합으로 사용하는 복합공법이 널리 사용되 어 지고 있다. 그러나 일부 민간 건설 현장에서 아스팔트 씰의 누유현장으로 매스컴에 오르내리면서 아스팔트 씰의 적정품질 확보가 중요시되 는 시점이다. 이에 본 연구에서는 국내에서 사용되고 있는 아스팔트 씰계 제품을 대상으로 옥외 수직부 흘러내림 특성을 평가하였다.

비노출형 도막방수재 도포 후 누름콘크리트 타설 시기에 따른 도막방수재의 물리적 특성과 바탕면 조건, 도막두께 및 보강포 사용유무에 따른 내피로성을 검토하였는데, 누름콘크리트 타설 시기가 짧을수록 변색이 심하였고, 도막두께가 두꺼운 반면 인장성능이 낮았다. 내피로 성능은 3 mm의 도막두께에서는 파단되지 않았으나 1, 2 mm는 모두 파단 되었고 부직포로 보강한 경우의 내피로성능이 상대적으로 우수한 것으로 나타났다.