• 발명특허
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• v.13 no.3 s.145
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• pp.28-29
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• 1988

이 회사의 특허의식은 현사장 태송달영이 회사 창립전에 개인명의로 그때까지 알루미늄제였던 아이스캔디성형기를 프라스틱기로 특허출원한 것이 시작이었지만, 지금은 1958년 12월 실용신안등록출원인 $\ulcorner$우유수송관의 밀봉장치$\lrcorner$(등록제566959호)가 이 회사 특허관리의 제1호이다. 이후로 1960년 4월에 발명협회에 입회, 1966년 6월에 일본특허협회 입회, 1967년 12월 개발부 산하특허과로서 전담요원을 두기에 이르렀다. 지금은 취체역개발부장을 수석으로 개발부 특허과에서 개발 및 기획디자인업무의 정보제공을 시작하여 출원$\cdot$권리보존$\cdot$계약$\cdot$분쟁등을 주요한 업무로 하고 있다.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.113-121
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• 2010

Shumi-sen(須彌山), built by Nohjagong(路子工) in the southern garden of the Palace Garden during the Asuka Period, is understood as being Sumeru based on an Indian perspective of the theory of the origin of universe. It is also viewed as Mt. Myogoh from a Chinese Buddhist worldview. It is thought to be a type of assembled stone structure with Poong-ryoon (風輪)-Su-ryoon(水輪)-Geum-ryoon(金輪)-Ji-ryoon(地輪) carved into each of the 4 stone pieces. These building shapes are thought to have been utilized as stone for exterior construction as opposed to those structures built during the Shilla Period of China and Korea. Aside from Nohjagong's record of Shumi-sen, most of the records from Japan's period of the time suggest that Shumi-sen was an important element that played a role in the scenery of the seasonal outdoor gardens. It is also thought, from the sentences and expressions surrounding the records, that a combination of the seasonal sceneries was utilized centered on Shumi-sen, and that they were all used during festival events. From a perspective of analysis and interpretation dependent on the limited literature and on observation, it cannot be verified whether the Mt. Sumeru Stone(須彌山石) excavated from the Stone God Ruins is the same Shumi-sen that Nohjagong built along with Okyo(吳橋), but it is thought that the 'Shumi-sen type stone structure' that was later built repeatedly as part of the palace garden facilities is identical to the Shumi-sen built at the Imperial Palace's southern garden, or at least a re-built structure based on the Shumi-sen that Nohjagong built with stones and ponds used to create the foundation. Thus, Shumi-sen that Nohjagong supposedly built along with Okyo is suspected to be a figurative rock arrangement and, at the same time, a miniaturized scenic rock arrangement(縮景樹石) that maximized the shape of Buddhism's Shumi-sen. On the other hand, the surface pattern on Mt. Sumeru Stone is very similar to the multi -layers of mountainous pattern icons expressed in the patterns of the Great Golden Incense Burner(百濟金銅大香爐) or Mountain-Water Scenery Sculptural Brick(山水山景紋?) that were built during the Baekjae pcriod aod the rear side of Hwalsuk-jebul Basal Byungipsang(滑石諸佛菩薩竝立像); it is suspected that similar patterns would have been used if patterns were made on Shumi-sen that Nohjagong built. Also in consideration of the physical theory of MI. Sumeru Stone, the Siphon theory of using a pressure difference in water level was applied to the fountain facilities of Mt. Sumeru Stone that seemed to have been built from the practical rock arrangement perspective for the purpose of feasts, etc.

• Journal of the Korea Institute of Building Construction
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• v.15 no.1
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• pp.1-7
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• 2015

The objective of this study is to develop a high-performance foamed concrete made with a new mixture proportioning as an alternative of autoclaved lightweight concrete (ALC) block. For the early-strength gain of the foamed concrete under an atmospheric curing condition, the binders and chemical agents were specially contrived as follows: 3% anhydrous gypsum was added to ordinary portland cement (OPC) in which $3CaO{\cdot}SiO_2$ content was controlled to be above 60%; and the content of polyethylene glycol alkylether in a polycarboxylate-based water-reducing agent was modified to be 28%. Using these binders and chemical agents, 11 mixes were prepared with the parameters of W/B ratio (30% to 20% in a interval of 2.5%) and unit binder content ($400kg/m^3$ to $650kg/m^3$ in a interval of $50kg/m^3$). The quality and availability of the mixed foamed concrete were examined according to the minimum requirements specified in the KS for ALC block and existed conventional foamed concrete. The measured properties satisfied the minimum requirement of KS for ALC block and proved that the developed high-performance foamed concrete had considerable potential for practical application.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.