미술대학 조소작업 중 발생하는 분진 및 소음에 대한 노출평가
Exposure Assessment to Particulates and Noise among Sculptors at a College of Fine Art
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조회
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다운로드
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인용
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참고문헌
키워드
초록
Objectives: A great number of hazardous agents can be emitted from various types of art-creation in a fine arts college, but little data on exposure assessment has been published. A variety of processes encompassing toxic or non-toxic materials, tools, and components are involved in a sculptor work at a fine art college. The aim of this study was to assess exposure levels to particulates and noise during sculpture classes in a college of fine arts. Methods: Students in sculpture classes participated in this study. Mass, number, and surface area concentrations of particulates, noise level, temperature and relative humidity were monitored by both personal and area sampling during the tasks of metal, wood, and stone sculpting. Results: The number and surface concentration of particulates was the highest in the task of wood sculpting,followed by metal and stone work. The mass concentration of particulates was the highest in stone sculpting (personal GM 3.0 mg/m3, GSD 3.0), followed by wood (personal GM 1.5 mg/m3, GSD 1.8) and metal work (personal GM 0.95 mg/m3, GSD 1.51) in that order. Occupational exposure limits (OEL) for particulates depends on the type of particulate. For wood dust, 86% (six subjects) of the personal samples and all area samples exceeded the Korean OEL for wood dust (1 mg/m3), while 20% (two subjects) among stone sculpting students were exposed above the Korean OEL (10 mg/m3). In contrast, metal sculpting did not exceed the OEL (5 mg/m3). For noise level, metal sculpting students (Leq 95.1 dB(A) in the morning, 85.3 dB(A) in the afternoon) were exposed the most, followed by stone sculpting (88.3 dB(A)), and wood sculpting (84.8 dB(A)) in that order. Compared with the 90 dB(A) of the Korean OEL and 85 dB(A) of the American Conference of Governmental Industrial Hygienists’ threshold limit value (ACGIH-TLV) for noise, 100% of the subjects (five subjects) and area samples during metal sculpting in the morning session exceeded both OELs, but only three subjects (60%)exceeded the ACGIH-TLV in the afternoon session. For stone sculpting, 50% (one subject) and 100% (two subjects) exceeded the Korean OEL and ACGIH-TLV, respectively, but the area sample did not exceed either OEL. During wood sculpting, two subjects (40%) exceeded ACGIH TLV. Conclusions: This work evaluated the sculptors’ exposure to particulate matter and noise in fine art college, and revealed a poor working environment for the participating students. Effective measures should be supplemented by the administration of colleges.
Abstract
Objectives: A great number of hazardous agents can be emitted from various types of art-creation in a fine arts college, but little data on exposure assessment has been published. A variety of processes encompassing toxic or non-toxic materials, tools, and components are involved in a sculptor work at a fine art college. The aim of this study was to assess exposure levels to particulates and noise during sculpture classes in a college of fine arts. Methods: Students in sculpture classes participated in this study. Mass, number, and surface area concentrations of particulates, noise level, temperature and relative humidity were monitored by both personal and area sampling during the tasks of metal, wood, and stone sculpting. Results: The number and surface concentration of particulates was the highest in the task of wood sculpting,followed by metal and stone work. The mass concentration of particulates was the highest in stone sculpting (personal GM 3.0 mg/m3, GSD 3.0), followed by wood (personal GM 1.5 mg/m3, GSD 1.8) and metal work (personal GM 0.95 mg/m3, GSD 1.51) in that order. Occupational exposure limits (OEL) for particulates depends on the type of particulate. For wood dust, 86% (six subjects) of the personal samples and all area samples exceeded the Korean OEL for wood dust (1 mg/m3), while 20% (two subjects) among stone sculpting students were exposed above the Korean OEL (10 mg/m3). In contrast, metal sculpting did not exceed the OEL (5 mg/m3). For noise level, metal sculpting students (Leq 95.1 dB(A) in the morning, 85.3 dB(A) in the afternoon) were exposed the most, followed by stone sculpting (88.3 dB(A)), and wood sculpting (84.8 dB(A)) in that order. Compared with the 90 dB(A) of the Korean OEL and 85 dB(A) of the American Conference of Governmental Industrial Hygienists’ threshold limit value (ACGIH-TLV) for noise, 100% of the subjects (five subjects) and area samples during metal sculpting in the morning session exceeded both OELs, but only three subjects (60%)exceeded the ACGIH-TLV in the afternoon session. For stone sculpting, 50% (one subject) and 100% (two subjects) exceeded the Korean OEL and ACGIH-TLV, respectively, but the area sample did not exceed either OEL. During wood sculpting, two subjects (40%) exceeded ACGIH TLV. Conclusions: This work evaluated the sculptors’ exposure to particulate matter and noise in fine art college, and revealed a poor working environment for the participating students. Effective measures should be supplemented by the administration of colleges.
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