KSTAR磁体结构设计概述

IF 0.3 1区艺术学 0 MUSIC

NINETEENTH CENTURY MUSIC Pub Date : 2002-11-07 DOI:10.1109/FUSION.2002.1027722

Y. Oh, C.H. Choi, J. Sa, H. Ahn, K. J. Cho, Y.M. Park, Y.S. Kim, K. Kim, D.K. Lee, S. Cho, N. Her, M. Kwon, J. Bak, G.S. Lee

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引用次数: 5

摘要

韩国超导托卡马克先进研究(KSTAR)装置的磁体结构系统由16个分段环形场(TF)线圈结构包围每个d形TF线圈，一个中央螺线管(CS)结构包围4对CS线圈，模块化极向场(PF)线圈结构在8或16个地方支撑每个PF线圈，以及重力支架组成。对磁体结构进行了工程设计，进行了各种工况下的电磁载荷计算和结构分析。将制作一个原型TF线圈结构以检查制造的可行性。一个原型磁铁支撑柱已经制造出来，并在80 K下测试了高达15,000次的垂直载荷，低于80吨。除了磁体结构的开发外，还完成了实际尺寸原型TF线圈的绕组和热处理，没有任何SAGBO等缺陷。线圈的制造将于2002年年中完成。作为磁体系统的接口，设计了低温装置和电流馈线系统。

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Design overview of the KSTAR magnet structures

The magnet structure system of the Korea Superconducting Tokamak Advanced Research (KSTAR) device consists of 16-segmented toroidal field (TF) coil structures encasing each D-shaped TF coil, a central solenoid (CS) structure surrounding 4 pairs of CS coils, modular poloidal field (PF) coil structures supporting each PF coil in 8 or 16 places, and a gravity support. The engineering design of the magnet structures has been conducted with related electromagnetic load calculations and structural analyses for various operation scenarios. A prototype TF coil structure will be fabricated to check the manufacturing feasibility. A prototype magnet supporting post has been fabricated and tested at 80 K up to 15,000 cycles of vertical load under 80 tons. In addition to the magnet structure development, winding and heat treatment of a real-sized prototype TF coil have been finished without any defect such as SAGBO. The fabrication of the coil will be completed by the middle of 2002. As an interface of the magnet system, a cryogenic facility and a current feeder system have been designed.

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来源期刊

NINETEENTH CENTURY MUSIC MUSIC-

CiteScore

0.40

自引率

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.