• Journal of the Semiconductor & Display Technology
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• v.13 no.3
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• pp.45-50
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• 2014

In this paper, we propose a super-junction MOSFET (SJ MOSFET) fabricated through a simple pillar forming process by varying the Si epilayer thickness and doping concentration of pillars using SILVACO TCAD simulation. The design of the SJ MOSFET structure is presented, and the doping concentration of pillar, breakdown voltage ($V_{BR}$) and drain current are analyzed. The device performance of conventional Si planar metal-oxide semiconductor field-effect transistor(MOSFET), Si SJ MOSFET, and SiGe SJ MOSFET was investigated. The p- and n-pillars in Si SJ MOSFET suppressed the punch-through effect caused by drain bias. This lead to the higher $V_{BR}$ and reduced on resistance of Si SJ MOSFET. An increase in the thickness of Si epilayer and decrease in the former is most effective than the latter. The implementation of SiGe epilayer to SJ MOSFET resulted in the improvement of $V_{BR}$ as well as drain current in saturation region, when compared to Si SJ MOSFET. Such a superior device performance of SiGe SJ MOSFET could be associated with smaller bandgap of SiGe which facilitated the drift of carriers through lower built-in potential barrier.

• JSTS:Journal of Semiconductor Technology and Science
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• v.7 no.3
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• pp.161-165
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• 2007

In this paper, mesoporous Pt on micro pillars Pt electrode is newly designed, fabricated, and characterized on silicon substrate for non-enzymatic electrochemical sensor micro-chip integrated with CMOS readout circuitry. The fabricated micro/nano Pt electrode has cylindrical hexangular arrayed nano Pt pores with a diameter of 3.2 nm which is formed on top of the micro pillars Pt electrode with approximately $6{\mu}m$ in diameter, $6{\mu}m$ in space, and $50{\mu}m$ in height. The measured current responses of the fabricated plane Pt, mesoporous Pt, and mesoporous Pt on the micro pillar Pt electrodes are approximately $9.9nA/mm^2,\;6.72{\mu}A/mm^2,\;and\;7.67{\mu}A/mm^2$ in 10mM glucose solution with 0.1M phosphate buffered saline (PBS) solution, respectively. In addition, the measured current responses of the fabricated plane Pt, mesoporous Pt, and mesoporous Pt on the micro pillar Pt electrodes are approximately $0.15{\mu}A/mm^2,\;0.56{\mu}A/mm^2,\;and\;0.74{\mu}A/mm^2$ in 0.1mM ascorbic acid (AA) solution with 0.1M phosphate buffered saline (PBS) solution, respectively. This experimental results show that the proposed micro/nano Pt electrode is highly sensitive and promising for CMOS integrated non-enzymatic electrochemical sensor applications. Since the micro-pillar Pt electrode can also be utilized with a micro-fluidic mixer in the sensor chip, the sensor chip can be much smaller, cheaper, and easier to be fabricated.

• Polymer(Korea)
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• v.36 no.4
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• pp.536-541
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• 2012

The effects of silica content were studied on UV curing characteristics and defect formations in imprinted patterns of hundreads nanometer size for the photo-curable imprinting composites with silica particles. An increase in elasticity and a decrease in shrinkage were observed with an increase in silica content in the imprinting resin which was UV cured at room temperature. However, the patterned nano-pillars were stuck together with neighboring nano-pillars if the amount of silica is more than 7 wt%. This can be ascribed to the increased viscosity of imperfectly cured resin due to the obstruction of the photo-reaction by silica particles. Addition of silica to the imprinting resin is useful in enhancing the strength of the cured resin although it is difficult to get good imprinted patterns for the resin with more than 7 wt% of silica due to the reduction of photo-reaction conversion.

• Journal of the Korean Wood Science and Technology
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• v.42 no.3
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• pp.244-250
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• 2014

This study was conducted to identify wood species of 72 wooden parts (pillar, beam, jangyeo, purlin, judu, soro, bracket, deagong, ceiling panel, etc.) used for Daewungjeon Hall in the Woonsoosa Temple, Busan in Korea. Identified wood species were 67 Pinus spp. (Kesiya group), 4 Carpinus spp. and 1 Quercus spp. (Cerris group). In pillars, 14 red pines and 4 Carpinus and in purlins, 4 red pines and 1 Cerris were found. Other elements were red pines. Carpinus woods, which were used for the lower portions of three pillars (Dongbari), seemed repaired parts. A carved wood used for the stand of Buddhist statues was identified as Alnus spp. This study showed that Daewungjeon Hall of the Woonsoosa Temple was made mostly of red pines.

• Architectural research
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• v.25 no.3
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• pp.41-51
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• 2023

Building restoration is a complex process with a high level of uncertainty. Restoration professionals can significantly benefit from the well-established discipline of project management to achieve their targets; however, available evidence shows that the use of the project management body of knowledge in restoration projects is far from the desired level. Several historical organisations have since been established with the goal of preserving and governing cultural identity, and numerous studies have supported the need of preserving architectural heritage. Many owners, investors, academics, and developers believe that it would be considerably more expensive to renovate and restore an old building than to create a new one. Although the project management process is generally recognised, the concept of project management for architectural heritage projects differs due to the uniqueness of each project. It differs from many construction projects in terms of the need for research-based practices to define scope, planning, scheduling, supervision,decision-making,and also performance. The Greco-Roman Museum in Alexandria's planning, design, and building phases are being studied with the aim of identifying and analysing the variables that contribute to project delays. Three project management pillars were established as a result of gathering this data from the project's stakeholders: the first pillar addresses time management for the existing phase and how it will be incorporated into the new extension phase; the second pillar addresses performance in relation to project management issues in the delivery of the best quality of a construction project; and the third pillar addresses the scope of the new extension because it will significantly impact the other two pillars. This paper argues that a contemporary perspective which utilizes project management tools and techniques can contribute to the conservation of architectural heritage in line with the conservation principles.

• Proceedings of the Korea Water Resources Association Conference
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• 2022.05a
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• pp.505-505
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• 2022

This study shows the first output of the three-year project (2021-2023) to develop a Smart Water City (SWC) Global Standard and Certification Scheme ley by K-water, International Water Resources Association (IWRA) and Asia Water Council (AWC). There are three major parts in the first year. In Part 1, it investigates the essential features of cities today and details the water challenges currently faced and likely to be confronted in the future. It also investigates the functions that water fulfills in the urban environment, and how ICTs can contribute to improving those functions by each Urban Water Cycle. A definition of a Smart Water City is proposed following a discussion on the meaning of "smart development". This part of the report also presents different city cases from countries around the world to illustrate the urban water challenges and the technological and non-technological solutions that cities have put in place, including national and/or local policies and strategies. In Part 2, it defines what global standards indicators and certification schemes are and identifies their characteristics. Especially, it analyses in detail eight relevant standards and certification schemes measuring sustainable development and/or water resources management in urban settings. Standards elaborated by international organizations are distinguished from those developed by the private sector, non-governmental organizations, and by academia. Finally, this study suggests the right direction to develop SWC global standard frameworks and certification schemes. And then, it shows the main tasks for the Stage 2 (second year) project. Basically, the framework for a future SWC standard (consisting three main pillars: Technical, Governance and Prospective pillars) will be fully defined in Stage 2.

• Journal of Korean Society of Rural Planning
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• v.30 no.3
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• pp.37-53
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• 2024

The purpose of this study is to analyze the effectiveness of an agriculture and rural development ODA project in southern Nepal's Terai region to improve food security, and to suggest appropriate project approaches to improve food security. The subject of the analysis is the KOICA-funded 'Inclusive Rural Development project', and a framework for analyzing food security was established based on the FAO's four pillars of food security, and indicators were proposed to measure the food security of project farmers. The data for this study were obtained from a survey of project beneficiary farmers and their control group, and the effects of the project on food security were measured using a a t-test analysis, difference-in-difference analysis, propensity score matching-linear regression combined model (PSM-OLS) and a propensity score matching-difference-in-difference combined model(PSM-DID). The results showed that, in general, the ODA project treatment group had significant improvements in each of the four pillars of food security (food availability, access, utilization, and stability). In addition, cooperative membership had a positive impact on food security improvements, and there were also differences in outcomes among different ethnic groups in the Terai region. The implications of this study are that the Korean government's ODA policy should set aside the food security sector and incorporate food security indicators to contribute to the improvement of food security in ODA partner countries, and that agricultural and rural development ODA projects should include food security indicators as performance indicators in their pre-planning to contribute to securing food security for vulnerable groups as food insecurity is higher among vulnerable groups.

• Journal of Advanced Navigation Technology
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• v.28 no.4
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• pp.428-435
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• 2024

In this paper, a human activity regeneration (HAR) system based on multiple input multiple output frequency modulation continuous wave (MIMO FMCW) radar was designed and implemented. Using point cloud data from MIMO radar sensors has advantages in terms of privacy, safety, and accuracy. For the implementation of the HAR system, a customized neural network based on PointPillars and depthwise separate convolutional neural network (DS-CNN) was developed. By processing high-resolution point cloud data through a lightweight network, high accuracy and efficiency were achieved. As a result, the accuracy of 98.27% and the computational complexity of 11.27M multiply-accumulates (Macs) were achieved. In addition, the developed neural network model was implemented on Raspberry-Pi embedded system and it was confirmed that point cloud data can be processed at a speed of up to 8 fps.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.66-87
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• 2009

The definition of the structure of wooden chamber tomb(piled stone-type) is as follows. It is a tomb with wooden chamber, and stones were piled on top of the wooden chamber, and then a wooden structure was placed on top of the piled stones, and more stones were piled on top of the wooden structure, and sealed with clay. Of course this definition can vary according to periods, the buried, etc. Gyeongju-style piled stone type wooden chamber tombs have some distinguished characteristics compared to general definition of piled stone type wooden chamber tombs. Outside the wooden chamber, either stone embankments or filled-in stones were layed out, and pilet-in stones are positioned right above the wooden chamber, and almost every class used this type, and finally, it is exclusively found in Gyeongju area. First generations of this Gyeongju-style piled stone type wooden chamber tombs appeared in first half of 5th century. These tombs inherited characteristics like ground plan, wooden chamber, double chamber(inner chamber and outer chamber), piled stones, burial of the living with the dead, piled stones, from precedent wooden chamber tombs. However these tombs have explicit new characteristics which are not found in the precedent wooden chamber tombs such as stone embankments, wooden pillars, piled stones(above ground level), soil tumuluses. stone embankments and wooden pillars are exclusively found on great piled stone type above-ground level wooden chamber tombs such as the Hwangnamdaechong(皇南大塚). Stone embankments, wooden pillars, piled stones(above ground level) are all elements of building process of soil tumuluses. stone embankments support outer wall of above-ground level wooden chambers and disperse the weight of tumuluses. Wooden pillars functioned as auxiliary supports with wooden structures to prevent the collapse of stone embankments. Piled stones are consists of stones of regular size, placed on the wooden structure. And after the piled stones were sealed with clay, tumulus was built with soil. Piled stones are unique characteristics which reflects the environment of Gyeongju area. Piled stone type wooden chamber tombs are located on the vast and plain river basin of Hyeongsan river(兄山江). Which makes vast source of sands and pebbles. Therefore, tumulus of these tombs contains large amount of sands and are prone to collapse if soil tumulus was built directly on the wooden structure. Consequently, to maintain external shape of the tumulus and to prevent collapse of inner structure, piled stones and clay-sealing was made. In this way, they can prevent total collapse of the tombs even if the tumulus was washed away. The soil tumulus is a characteristic which emerges when a nation or political entity reaches certain growing stage. It can be said that after birth of a nation, growing stage follows and social structure will change, and a newly emerged ruling class starts building new tombs, instead of precedent wooden chamber tombs. In this process, soil tumulus was built and the size and structure of the tombs differ according to the ruling class. Ground plan, stone embankments, number of the persons buried alive with the dead, quantity and quality of artifacts reflect social status of the ruling class. In conclusion, Gyeongju-style piled stone type wooden chamber tombs emerged with different characteristics from the precedent wooden chamber tombs when Shilla reached growing stage.

• 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.