• Korean Journal of Materials Research
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• v.11 no.5
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• pp.427-430
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• 2001

We prepared 10cm-diameter Si(100)/500 $\AA$-Si$_3$N$_4$/Si(100) wafer Pairs adopting 500 $\AA$ -thick Si$_3$N$_4$layer as insulating layer between single crystal Si wafers. Si3N, is superior to conventional SiO$_2$ in insulating. We premated a p-type(100) Si wafer and 500 $\AA$ -thick LPCVD Si$_3$N$_4$∥Si (100) wafer in a class 100 clean room. The cremated wafers are separated in two groups. One group is treated to have hydrophobic surface and the other to have hydrophilic. We employed a FLA(fast linear annealing) bonder to enhance the bond strength of cremated wafers at the scan velocity of 0.1mm/sec with varying the heat input at the range of 400~1125W. We measured bonded area using a infrared camera and bonding strength by the razor blade crack opening method. We used high resolution transmission electron microscopy(HRTEM) to probe cross sectional view of bonded wafers. The bonded area of two groups was about 75%. The bonding strength of samples which have hydrophobic surface increased with heat input up to 1577mJ/$m^2$ However, bonding strength of samples which have hydrophilic surface was above 2000mJ/$m^2$regardless of heat input. The HRTEM results showed that the hydrophilic samples have about 25 $\AA$ -thick SiO layer between Si and Si$_3$N$_4$/Si and that maybe lead to increase of bonding strength.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.34 no.6
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• pp.1731-1741
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• 2014

Recently, many overpasses, highway, and advanced transit systems have been constructed to distribute the traffic congestion, thus small size of curved bridges with small curvature such as ramp structures have been increasing. Many of early curved bridges had been constructed by using straight beams with curved slabs, but curved steel beams have replaced them due to the cost, aesthetic and the advantage in building the section form and manipulating the curvature of beams, thereby large portion of curved bridges were applied with steel box girders. However, steel box girder bridges needs comparatively high initial costs and continuous maintenance such as repainting, which is the one of the reason for increasing the cost. Moreover, I-type steel plate girder which is being studied by many researchers recently, seem to have problems in stability due to the low torsional stiffness, resulting from the section characteristics with thin plate used for web and open section forms. Therefore, in recent studies, researchers have proposed curved precast PSC girders with low cost and could secured safety which could replace the curved steel girder type bridges. Hence, this study developed a Smart Mold system to manufacture efficient curved precast PSC girders. And by using this mold system a 40 m 2-girder bridge was constructed for a static flexural test, to evaluate the safety and performance under ultimate load. At the manufacturing stage, each single girder showed problems in the stability due to the torsional moment, but after the girders were connected by cross beams and decks, the bridge successfully distributed the stress, thereby the stability was confirmed. The static loading test results show that the initial crack was observed at 1,400 kN when the design load was 450 kN, and the load at the allowable deflection by code was 1,800 kN, which shows that the safety and usability of the curved precast PSC bridge manufactured by Smart Mold system is secured.

• The Journal of Engineering Geology
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• v.18 no.4
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• pp.447-457
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• 2008

Laboratory tests for single plane sliding were conducted using the model rock slope to investigate the cut slope deformability and failure mechanism due to combined effect of engineering characteristics such as angle of sliding plane, water force, joint roughness and infillings. Also the possibility of prediction of slope failure through displacement monitoring was explored. The joint roughness was prepared in forms of saw-tooth type having different roughness specifications. The infillings was maintained between upper and lower roughness plane from zero to 1.2 times of the amplitude of the surface projections. Water force was expressed as the percent filling of tension crack from dry (0%) to full (100%), and constantly increased from 0% at the rate of 0.5%/min and 1%/min upto failure. Total of 50 tests were performed at sliding angles of $30^{\circ}$ and $35^{\circ}$ based on different combinations of joint roughness, infilling thickness and water force increment conditions. For smooth sliding plane, it was found that the linear type of deformability exhibited irrespective of the infilling thickness and water force conditions. For sliding planes having roughness, stepping or exponential types of deformability were predominant under condition that the infilling thickness is lower or higher than asperity height, respectively. These arise from the fact that, once the infilling thickness exceeds asperities, strength and deformability of the sliding plane is controlled by the engineering characteristics of the infilling materials. The results obtained in this study clearly show that the water force at failure was found to increase with increasing joint roughness, and to decrease with increasing filling thickness. It seems possible to estimate failure time using the inverse velocity method for sliding plane having exponential type of deformability. However, it is necessary to estimate failure time by trial and error basis to predict failure of the slope accurately.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.30 no.3A
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• pp.201-209
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• 2010

Generally, PSC girder bridge uses total gross cross section to resist applied loads unlike reinforced concrete member. Also, it is used as short and middle span (less than 30 m) bridges due to advantages such as ease of design and construction, reduction of cost, and convenience of maintenance. But, due to recent increased public interests for environmental friendly and appearance appealing bridges all over the world, the demands for longer span bridges have been continuously increasing. This trend is shown not only in ordinary long span bridge types such as cable supported bridges but also in PSC girder bridges. In order to meet the increasing demands for new type of long span bridges, PSC hollow box girder with H-type steel as compression reinforcements is developed for bridge with a single span of more than 50 m. The developed PSC girder applies compressive prestressing at H-type compression reinforcements using unbonded PS tendon. The purpose of compressive prestressing is to recover plastic displacement of PSC girder after long term service by releasing the prestressing. The static test composed of 4 different stages in 3-point bending test is performed to verify safety of the bridge. First stage loading is applied until tensile cracks form. Then in second stage, the load is removed and the girder is unloaded. In third stage, after removal of loading, recovery of remaining plastic deformation is verified as the compressive prestressing is removed at H-type reinforcements. Then, in fourth stage, loading is continued until the girder fails. The experimental results showed that the first crack occurs at 1,615 kN with a corresponding displacement of 187.0 mm. The introduction of the additional compressive stress in the lower part of the girder from the removal of unbonded compressive prestressing of the H-type steel showed a capacity improvement of about 60% (7.7 mm) recovery of the residual deformation (18.7 mm) that occurred from load increase. By using prestressed H-type steel as compression reinforcements in the upper part of cross section, repair and rehabilitation of PSC girders are relatively easy, and the cost of maintenance is expected to decrease.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.