• Title/Summary/Keyword: Oblique crack

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p-Version Finite Element Model for Computation of the Stress Intensity Factors of Cracked Panels under Mixed Mode (혼합모우드를 받는 균열판의 응력확대계수 산정을 위한 p-Version 유한요소 모델)

  • 윤영필;이채규;우광성
    • Computational Structural Engineering
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    • v.9 no.2
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    • pp.133-142
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    • 1996
  • In this paper, two different techniques for mixed-mode type engineering fracture mechanics are investigated to estimate the stress intensity factors by using p-version finite element model. These two techniques are displacement extrapolation with COD and CSD method and J-integral with decomposition method. By decomposing the displacement field obtained from p-version of finite element analysis into symmetric and antisymmetric displacement fields with respect to the crack line, Mode-I and Mode-II stress intensity factors can be determined using aforementioned techniques. The example problems for validating the proposed techniques are centrally and centrally oblique cracked panels under tension. The numerical results associated with the variation of oblique angle and the ratio of crack length and panel width (a /W ratio) are compared with those by theoretical values and empirical solutions in literatures. Very good agreements with the existing solutions are shown.

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A Micro-observation on the Wing and Secondary Cracks Developed in Gypsum Blocks Subjected to Uniaxial Compression (일축압축상태의 석고 실험체에서 발생하는 날개크랙과 이차크랙에 대한 미시적 관측)

  • 사공명
    • Journal of the Korean Geotechnical Society
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    • v.19 no.2
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    • pp.171-178
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    • 2003
  • Wing and secondary cracks are unique types of cracks observed in rock masses subjected to uniaxial and biaxial compressive loading conditions. In this study, morphological features of wing and secondary cracks developed in gypsum specimens are investigated in the macro and micro scales. Along the path of wing crack, microtensile cracks are observed. Microtensile cracks coalesce with pores and show branch phenomenon. From the onset of the wing crack, multiple initiations of microtensile cracks are observed. Microtensile cracks show tortuous propagation paths and relatively constant aperture of the cracks during the propagation. It is shown that microtensile cracks propagate by splitting failure. At the micro scale, microfsults are observed in the path of the secondary cracks. Along the path of the secondary cracks, separation of grains and conglomerate grains, oblique microfaults, and irregular aperture of microfault are observed. These features show that the secondary cracks are produced in shear mode. The measured sizes of fracture process zone across the propagation direction near the tip of wing and secondary cracks range from 10$\mu{m}$ to 20$\mu{m}$ far wing cracks and from 100$\mu{m}$ to 200$\mu{m}$ for secondary cracks, respectively.

Architectural and Interior Design of Doorae Engineering & Construction Head Office (두레종합건설 본사사옥 설계)

  • Park, Young-Ho
    • Proceedings of the Korean Institute of Interior Design Conference
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    • 2005.05a
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    • pp.271-272
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    • 2005
  • As regards of designing, I chose a simple wall design of repeating pattern of vertical windows, rather than making the building as a glamourous obzet. This kind of approach was intended to pursue strong image of construction company, interchanging and communicating with its confused surrounding. Therefore, I boldly removed parts that I considered needless from the facade, and used simple and easy words clearly implying the organization. Lobby is the face of the building, but since the space is deep and narrow and the reality of lease should be considered, there was limit to give original image to the lobby. Instead, high ceiling is the biggest feature of this space. Doorae Engineering-Construction Corp. is young and energetic company. I wanted to highlight the young and energetic image of the company by crossing tore oblique piece of boards. This doesn't just has a simple function as ceiling, but also work as a major subject in the space. In addition of this powerful space of oblique lines, indirect lighting is used to emphasize the character of territory, continuity and deepness of the space. Character of territory that divides main and supplementary function and main and supplementary moving line is expressed by flow of dimension, and continuity and deepness of space is emphasized by indirect lighting flowing linearly through the crack between the ceiling and the wall.

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SH Wave Scattering from Cracks: Comparisons of Approximate and Exact Solutions (SH파의 균열 산란장 해석: 근사해와 엄밀해의 비교)

  • Jeong, Hyun-Jo;Park, Moon-Cheol;Song, Sung-Jin;Schmerr, L.W.
    • Journal of the Korean Society for Nondestructive Testing
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    • v.24 no.4
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    • pp.354-361
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    • 2004
  • This Paper describes a crack scattering model for SH wave based on the boundary integral equation(BIE) method, where the fundamental unknown is crack opening displacement(COD). When a time harmonic plane wave was incident on a 2-D isolated crack (slit) of width 2a, the COD distributions were numerically calculated as a function of ka. The calculated COD agreed well with results obtained with other methods. The far-field scattering amplitude, which completely characterizes the flaw response, was calculated in two ways. The Kirchhoff approximation and the BIE-COD exact formulation were compared in terms of incidence angle and frequency ka in a pulse-echo mode. Maximum response was obtained for both methods at the specular reflection direction. Away from the specular direction, the Kirchhoff approximation becomes less accurate. The time domain crack response was also calculated using a band-limited spectrum of center frequency 10 MHz. At oblique incidence to the crack both methods show the existence of an antisymmetric flash points occurring from the crack edge. The Kirchhoff approximation provides an exact time interval between flash points, although it unrealistically gives the same amplitude.

A Study on the Vibration Characteristics of Thin Plate with Crack under Tension using ESPI (ESPI기법에 의한 하중을 받는 균열 박판의 진동 특성에 관한 연구)

  • Kim, Koung-Suk;Kang, Ki-Soo;Choi, Ji-Eun;Park, Chan-Ju;Hong, Jin-Who
    • Journal of the Korean Society for Nondestructive Testing
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    • v.21 no.2
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    • pp.182-188
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    • 2001
  • This paper presents the vibration characteristics of a rectangular plate with $45^{\circ}$ oblique crack subjected to a uniaxial tension. The experiment is adopted by the time-average Electronic Speckle Pattern Interferometry(ESPI) method. The natural frequency and mode shape are considered accurately according to the increase of tensile load. When tensile load is zero, the vibration modes we agreed with the smooth and the $45^{\circ}$ obliquely cracked plate. But according to the increasement of load it is shown that vibration modes are extremely varied. The effects of the crack under the vibration are discussed in detail. It is indicated that the increase of load makes the variation of the frequencies and modes complicate in the range of even a small load. The results are agreed with the FEM analysis within 5%.

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Ultrasonic Phased Array Techniques for Detection of Flaws of Stud Bolts in Nuclear Power Plants

  • Lee, Joon-Hyun;Choi, Sang-Woo
    • Journal of the Korean Society for Nondestructive Testing
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    • v.26 no.6
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    • pp.440-446
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    • 2006
  • The reactor vessel body and closure head are fastened with the stud bolt that is one of crucial parts for safety of the reactor vessels in nuclear power plants. It is reported that the stud bolt is often experienced by fatigue cracks initiated at threads. Stud bolts are inspected by the ultrasonic technique during the overhaul periodically for the prevention of failure which leads to radioactive leakage from the nuclear reactor. The conventional ultrasonic inspection for stud bolts was mainly conducted by reflected echo method based on shadow effect. However, in this technique, there were numerous spurious signals reflected from every oblique surfaces of the thread. In this study, ultrasonic phased array technique was applied to investigate detectability of flaws in stud bolts and characteristics of ultrasonic images corresponding to different scanning methods, that is, sector and linear scan. For this purpose, simplified stud bolt specimens with artificial defects of various depths were prepared.

Fracture of Multiple Flaws in Uniaxial Compression (일축압축 상태하 다중 불연속면의 파괴에 대한 연구)

  • 사공명;안토니오보베
    • Tunnel and Underground Space
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    • v.11 no.4
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    • pp.301-310
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    • 2001
  • Gypsum blocks with sixteen flaws have been prepared and tested in uniaxial compression. Results from these experiments are compared with observations from the same material with two and three flaws. The results indicate that the cracking pattern observed in specimens wish multiple flaws is analogous to the pattern obtained in specimens with two and three flaws such as initiation and propagation of wing, and secondary cracks and coalescence. Wing cracks initiate at an angle with the flaw and propagate in a stable manner towards the direction of maximum compression. Secondary cracks initiate and propagate in a stable manner. As the load is increased, secondary cracks may propagate in an unstable manner and produce coalescence. Two types of secondary cracks are observed: quasi-coplanar, and oblique secondary cracks. Coalescence is produced by the linkage of two flaws: wing and/or secondary cracks. From the sixteen flaws test, four types of coalescence are observed. Observed types of coalescence and initiation stress of wing and secondary crackle depend on flaw geometries, such as spacing, continuity, flaw inclination angle, ligament angle, and steppings.

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Image Enhancement for Sub-Harmonic Phased Array by Removing Surface Wave Interference with Spatial Frequency Filter

  • Park, Choon-Su;Kim, Jun-Woo;Cho, Seung Hyun;Seo, Dae-Cheol
    • Journal of the Korean Society for Nondestructive Testing
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    • v.34 no.3
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    • pp.211-219
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    • 2014
  • Closed cracks are difficult to detect using conventional ultrasonic testing because most incident ultrasound passes completely through these cracks. Nonlinear ultrasound inspection using sub-harmonic frequencies a promising method for detecting closed cracks. To implement this method, a sub-harmonic phased array (PA) is proposed to visualize the length of closed cracks in solids. A sub-harmonic PA generally consists of a single transmitter and an array receiver, which detects sub-harmonic waves generated from closed cracks. The PA images are obtained using the total focusing method (TFM), which (with a transmitter and receiving array) employs a full matrix in the observation region to achieve fine image resolution. In particular, the receiving signals are measured using a laser Doppler vibrometer (LDV) to collect PA images for both fundamental and sub-harmonic frequencies. Oblique incidence, which is used to boost sub-harmonic generation, inevitably produces various surface waves that contaminate the signals measured in the receiving transducer. Surface wave interference often degrades PA images severely, and it becomes difficult to read the closed crack's position from the images. Various methods to prevent or eliminate this interference are possible. In particular, enhancing images with signal processing could be a highly cost-effective method. Because periodic patterns distributed in a PA image are the most frequent interference induced by surface waves, spatial frequency filtering is applicable for removing these waves. Experiments clearly demonstrate that the spatial frequency filter improves PA images.

Broadening the Understanding of Sixteenth-century Real Scenery Landscape Painting: Gyeongpodae Pavilion and Chongseokjeong Pavilion (16세기(十六世紀) 실경산수화(實景山水畫) 이해의 확장 : <경포대도(鏡浦臺圖)>, <총석정도(叢石亭圖)>를 중심으로)

  • Lee, Soomi
    • 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.