Seismic analysis of the KSTAR tokamak

IF 0.3 1区艺术学 0 MUSIC

NINETEENTH CENTURY MUSIC Pub Date : 2002-11-07 DOI:10.1109/FUSION.2002.1027640

H. Ahn, Y.W. Lee, Y. Kim, J. Bak, G.S. Lee

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引用次数: 2

Abstract

The objectives of this analysis are to investigate the structural integrity of the KSTAR (Korea Superconducting Tokamak Advanced Research) device for the design earthquake and to enhance its aseismic performance. Three-dimensional finite element beam-shell models of the vacuum vessel, cryostat, and pumping ducts were developed and spectrum analyses based on the floor response spectra for the KSTAR building were carried out separately for each finite element model. Natural frequencies, seismic displacements and stress intensities were determined and effective seismic accelerations for the static analysis were also calculated by using the reaction forces at the fixed points. From a comparative study on the two kinds of seismic analyses (spectrum and static), equivalent static earthquake loads were verified for the detailed structural analysis. The results reveal that effective seismic accelerations in the horizontal direction are three times greater than the peak ground acceleration (PGA) and those in the vertical direction are less than two times of PGA. It can also be shown that the maximum stress intensities are less than 20% of the allowable stress limit specified in the ASME Boiler and Pressure Vessel Code.

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KSTAR托卡马克的地震分析

本分析的目的是研究KSTAR(韩国超导托卡马克先进研究)装置在设计地震中的结构完整性，并提高其抗震性能。建立了真空容器、低温恒温器和抽水管道的三维有限元梁壳模型，并基于楼板响应谱对KSTAR建筑的每个有限元模型分别进行了频谱分析。确定了固有频率、地震位移和应力强度，并利用固定点处的反作用力计算了静力分析的有效地震加速度。通过对两种地震分析方法(频谱分析和静力分析)的对比研究，验证了等效静力地震荷载对结构的详细分析。结果表明，水平方向的有效地震加速度是峰值地加速度的3倍，垂直方向的有效地震加速度小于峰值地加速度的2倍。最大应力强度小于ASME《锅炉压力容器规范》规定的许用应力极限的20%。

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来源期刊

NINETEENTH CENTURY MUSIC MUSIC-

CiteScore

0.40

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0.00%

发文量

期刊介绍： 19th-Century Music covers all aspects of Western art music between the mid-eighteenth and mid-twentieth centuries. We welcome--in no particular order--considerations of composers and compositions, styles, performance, historical watersheds, cultural formations, critical methods, musical institutions, ideas, and topics not named on this list. Our aim is to publish contributions to ongoing conversations at the leading edge of musical and multidisciplinary scholarship.