화약제조 공정의 초임계 유체 응용

송은석,김화용,김현수,이윤우,Song, Eun-Seok,Kim, Hwa-Yong,Kim, Hyoun-Soo,Lee, Youn-Woo 한국군사과학기술학회 2006 한국군사과학기술학회지 Vol.9 No.3

Micro- or nano-size particles are required to improve the combustion efficiency and stability in the case of solid explosives and propellants. The micro-structural properties of an energetic material strongly influence the combustion and explosion behavior. However, the traditional size reduction techniques, including milling, are not suitable for production of ultra-fine size particles. As an alternative to the traditional techniques, various re-crystallization processes based on supercritical fluids have recently been proposed. Supercritical fluids are fluids at temperatures and pressures above their critical point. In principle, they do not give problems of solvent contamination as they are completely released from the solute when the decompression occurs. Rapid Expansion Supercritical Solutions(RESS) and Supercritical Anti-Solvent Process(GAS/SAS) are representatives of a nano-size particle formation process of energetic materials using supercritical fluids. In this work, various fine particle formation processes using supercritical fluids are discussed and the results are presented.

Dry Sorbent Injection System 의 기 - 고계 반응 전산모사

송은석,이영수,이성철,류경옥,함성원,이용국 ( Eun Seok Song,Young Soo Lee,Sung Chul Yi,Kyong Ok Yoo,Seong Won Ham,Yong Kook Lee ) 한국화학공학회 1995 화학공학의이론과응용 Vol.1 No.2

조선 후기 佛殿 내 儀式의 성행과 佛像의 造形性

宋殷碩(Song Unsok) 한국미술사학회 2009 美術史學硏究 Vol.263 No.263

한국(韓國)의 문화(文化) : 17세기 말-18세기 초 조각승(彫刻僧) 수일(守一)의 조상(造像) 활동

송은석 ( Un Sok Song ) 한국사상문화학회 2013 韓國思想과 文化 Vol.70 No.-

조선 후기 불상과 조각승에 대한 연구는 아래와 같은 과정을 거쳐 이루어진다. 첫째, 발원문 등의 기록에 의해 조각가가 확인된 불상의 양식적 특징을 추출하며, 둘째, 기록이 없는 불상들은 조각가 기록이 있는 불상들과 비교하여 조각승을 추정하고, 셋째, 조각가의 작풍이 시간에 따른 변화하는 과정을 규명한다. 양식 분석을 통하여 불상을 언제 누가 만들었는지 알 수 있다. 또한 잘못된 기록에 의한 조각가와 제작 연대의 왜곡을 바로잡을 수도 있다. 불상의 조각가와 제작 시기를 판단하는 기초 연구에서 “양식”은 매우 중요한 분석 도구인 것이다. 이 글은 조선 후기의 주요 조각승들의 하나인 수일과 그의 작품 활동을 고찰한 연구이자, 불상에 수반한 문자 기록의 미술사 사료로서의 가치와 한계에 대한 연구이기도 하다. 조각승 수일은 이번 논문을 통해 학계에 처음 보고된 새로운 조각가이다. 그는 임진왜란 종전 이후 100여 년 동안 전국적으로 벌어진 사찰 재건기의 끄트머리인 17세기 말부터 18세기 초 사이에 경상도와 전라도 일대에서 불상을 만들고, 수리하고, 개금하는 작업을 하였다. 수일의 초반기 작품은 현재 1675년의 달성 소재사 명부전의 제 존상과 1676년의 청도 적천사 명부전의 제 존상이 알려져 있다. 그러나 그중 소재사의 지장상은 수일의 작품이 아닌 것으로 이번 논문을 통해 밝혀졌다. 수일의 작품이 확실한 소재사의 시왕상과 적천사의 지장상을 소재사 지장상과 비교 분석한 결과에 의한 것이었다. 수일은 1676년 적천사 명부전 존상들을 조성한 이후 1702년과 1703년에 전남 순천 대흥사와 경남 사천 심적암에서 각각 과거칠불·오십삼불상과 아미타삼존상을 제작하였는데, 그 사이 25년 동안 불상을 조성한 기록은 아직 발견되지 않았다. 순천 대흥사에 봉안되었던 불상들은 현재 서귀포, 보성, 남원 등지의 사찰에 흩어져 봉안되어 있으며, 대흥사에 봉안되었던 불상으로 추정되는 불상들도 서울, 전라남도, 전라북도 등지에 흩어져 봉안되고 있음이 양식 분석을 통해 새롭게 확인되었다. 수일은 1670년대에 불상을 새로 조성하는 작업을 주로 하다가, 1690년대 이후에는 불상 조성과 함께 개금, 중수 등을 병행하였다. 17세기 후반 사찰의 재건 및 중창 사업이 거의 완료된 결과, 새로운 불상을 조성하는 일은 줄어든 대신 오래된 불상을 수리하는 일이 크게 증가하였기 때문이었다. The Buddhist sculpture in the late Joseon dynasty are studied generally through a process like below: firstly, the stylistic features of Buddha statue which was known sculptor``s name by the record of balwonmun are extracted, secondly, the sculptor of the Buddha statue without record are estimated by making a comparison to the Buddha statue with record, and thirdly, the style of sculptures changing with time are explored. We can estimate who create the statue, and when, for analyzing style, and correct the sculptor and dating of the statue with document wrongly recorded too. In foundational research for estimating the sculptor and dating of the statues, style is a very useful analytical tool. This article is a study on monk sculptor Suil, one of the most important sculptors in the late Joseon dynasty, and his works, and on value and limitation of textual records as art-historical sources. A monk sculptor Suil is newly introduced in the academic community through this article. At the end of the era of rebuilding Buddhist temples and recreating Buddhist statues for about 100 years after the war between Joseon and Japan(1592-1598), Suil created and repaired Buddhist statues at the south part of Korean peninsula. Suil``s early works, except Buddhist statues dated 1675 in Myeongbu-jeon of Sojae-sa temple in Dalseong and Buddhist statues dated 1676 in Myeongbu-jeon of Jeokcheon-sa temple in Cheongdo, are unknown. Ksitigarbha image, a main statue in Myeongbu-jeon, in Sojae-sa is revealed that it is not Suil``s work by formal analysis in this paper. Any textual record about Suil was not known between 1676 and 1695. He repainted in gold on Buddha Triad in Borim-sa at Jangheung in 1695, and created Seven Buddhas and Fifty-three Buddhas in the past in Daeheung-sa at Suncheon in 1702, Amitabha Triad in Simjeok-am at Sacheon in 1703. Buddha images enshrined in Daeheung-sa in Suncheon are now dispersedly enshrined in temples at Seogwipo, Boseong, Namwon, and some Buddha images which were estimated at the belongings of Daeheung-sa temple are found in the temples at Seoul, Jeollanam-do, Jeollabuk-do, etc. As a result of practical completion of reconstructing the temples in the late 17th century, creating new Buddha images decreased steadily, repairing the old statues increased greatly. Suil mainly created new Buddha images in 1670s, however, after the 1690s, he created new Buddha images on the one hand, repaired old images on the other hand.

비정질 수정 캔틸레버의 식각 공정 최적화 및 Q-factor 연구

송은석(Eun-Seok Song),김용권(Yong-Kweon Kim),백창욱(Chang-Wook Baek) 대한전기학회 2011 전기학회논문지 Vol.60 No.2

In this paper, optimal deep reactive ion etching (DRIE) process conditions for fused quartz were experimentally determined by Taguchi method, and fused quartz-based micro cantilevers were fabricated. In addition, comparative study on Q-factors of fused quartz and silicon micro cantilevers was performed. Using a silicon layer as an etch mask for fused quartz DRIE process, different 9 flow rate conditions of C4₄F?, O₂ and He gases were tested and the optimum combination of these factors was estimated. Micro cantilevers based on fused quartz were fabricated from this optimal DRIE condition. Through conventional silicon DRIE process, single-crystalline silicon micro cantilevers whose dimensions were similar to those of quartz cantilevers were also fabricated. Mechanical Q-factors were calculated to compare intrinsic damping properties of those two materials. Resonant frequencies and Q-factors were measured for the cantilevers having fixed widths and thicknesses and different lengths. The Q-factors were in a range of 64,000 ?108,000 for fused quartz cantilevers and 31,000 ? 35,000 for silicon cantilevers. The experimental results supported that fused quartz had a good intrinsic damping property compared to that of single crystalline silicon.

초임계 PGSS 법을 이용한 Poly(lactide-co-glycolide)와 단백질의 마이크로복합체 제조에 관한 연구

송은석(Eun-Seok Song),정헌섭(Heon-Seop Jung),이한호(Hanho Lee),김재덕(Jae-Duck Kim),김화용(Hwayong Kim),이윤우(Youn-Woo Lee) 한국청정기술학회 2006 청정기술 Vol.12 No.2

스프링의 탄성력으로 보행 효율 향상에 기여하는 디바이스 설계 및 웨어러블 로봇에서의 적용 방안

송은석(EunSeok Song),이대호(DaeHo Lee),공경철(Kyoungchul Kong) 제어로봇시스템학회 2021 제어·로봇·시스템학회 논문지 Vol.27 No.3

The dynamics arising from the foot-ground interaction plays an important role in human gait. Thus, it is imperative to fabricate an appropriate foot module for a powered exoskeleton to improve its performance. In this paper, a new design for shoes that effectively utilize the forefoot dynamics is described. This new design has metatarsophalangeal (MTP) joints with embedded torsion springs that connect the forefoot with the rest of the foot. Prototypes of these shoes resembling common sandals were produced via 3D printing. Torsion springs can store energy until the occurrence of toe-off in the gait cycle and then release energy till the termination of toe-off, which makes walking possible with less power consumption. The proper use of this toe-off force can lead to a more natural and effective gait for the wearers of powered exoskeletons. The ground reaction forces were measured to analyze if the new design could indeed increase the toe-off force. Surface electromyography (sEMG) sensors were used to measure the muscle activity to compare the relative muscle fatigue for the cases with and without the newly proposed design. Experimental results showed that the springs in MTP joints reduced the muscle fatigue by 4% and they enabled an increase in the supporting force by 10% when walking on a flat ground. Experiments conducted for running and climbing stairs showed a nearly 30% increase in the supporting force and a 30% decrease in muscle fatigue, indicating a significant improvement. The forefeet or MTP joints were more actively engaged during running or climbing stairs and the spring had enough chance to play its role. Further research should focus on the verification of the design by incorporating it into wearable robot.

미국 미술관, 박물관 소장 조선시대 불상 연구

송은석 ( Un Sok Song ) 미술사와 시각문화학회 2013 미술사와 시각문화 Vol.12 No.-

There are many Korean works of art in museums and private collections in the United States, and dozens of Buddhist sculptures are included in them. Most of them were purchased from art dealers like Yamanaka Sadajiro in the early 20th century, and some of them from the collections of US Armed Forces and civilian workers in the military after the end of the Korean War in the mid 20th century. According to my recent survey, many Korean Buddhist statues are housed in the American museums and dozens of Buddhist statues created during the Joseon period (1392-1910) are included in them. Buddhist statues in American collections are of great importance in studying and reconstructing the history of Korean sculpture, especially the history of sculpture in Joseon Korea, because some of them have their documents for the dates and sculptors of the works and some images can be considered to be of the works of sculptors active in the 17th-18th century by formal analysis. Thus, I have examined 9 pieces of statues made from the 15th to the 18th century in American collections such as the Arthur M. Sackler Museum of Art, the Cleveland Museum of Art, the Los Angeles County Museum of Art, the Mary & Jackson Burke Foundation, the Metropolitan Museum of Art, the Samuel P. Harn Museum of Art, the Smart Museum of Art, and the Walters Art Museum. The Buddha statues in the Cleveland Museum of Art and the Arthur M. Sackler Museum are typical works representing two different styles in the early Joseon period. The former reflects a strongly traditional Goryeo style modified by the Tibeto-Chinese style while the latter reflects a strong Tibeto- Chinese style modified by the traditional Goryeo style. According to the results of formal analysis, the standing Bodhisattva statue in the Smart Museum of Art is assumed to have been made by the monk-sculptor Yeongsaek in the early 17th century, the seated Buddha statue in the Mary and Jackson Burke Foundation is assumed to have been produced by the monk-sculptor Ingyun or his followers in the early 17th century, and the seated Buddha statue in the Samuel P. Harn Museum of Art is assumed to have been created in the late 17th century by the monk-sculptor Seungil or his followers. Moreover, the seated Buddha statue in the Los Angeles County Museum of Art had been formerly known to be one of Jeonghaeng`s pieces, but, as a result of analytic comparison to other works by him, turned out not to be. And the seated Buddha statue in the Walters Art Museum is assumed to be the main sacred image of Buddha from a wooden picture (Mokgak-taeng) and has great significance for being the only example of its kind in existence. Buddhist statues from the Three Kingdoms and Unified Silla periods currently in the United States have been introduced and discussed. But, Joseon dynasty Buddhist statues in the American collections are still in need of investigation. Research on Joseon dynasty Buddhist statues in Korea has not been properly introduced to North American academia and museums to the extent that some statues regarded as Chinese or Japanese turned out to be works of the Joseon period, and vice versa. This calls for continuous interest in and investigation of Joseon dynasty Buddhist statues in the future.

RC 고층 건물의 기둥축소 해석보정 효과에 대한 변수 연구

송은석 ( Song Eun-seok ),김경찬 ( Kim Gyeong-chan ),김재요 ( Kim Jae-yo ) 한국구조물진단유지관리공학회 2020 한국구조물진단유지관리공학회 학술발표대회 논문집 Vol.24 No.1

본 논문에서는 철근 콘크리트 고층건물에서 발생하는 기둥축소의 정밀한 예측을 위하여 계측결과를 이용한 해석보정에 대하여 연구하였다. 해석보정의 변수는 해석보정 시행기준, 해석보정 값, 계측 위치에 따라 분류하였으며, 이 분류에 따라 해석보정 모델을 구성하였다. 이를 바탕으로 41층 규모의 철근콘크리트 건물의 시공단계해석에 대하여 해석보정 변수 연구를 수행하였다. 다양한 형태의 계측상황에 적용한 결과, 해석보정의 시행기준은 일정한 간격을 기준으로 해석 보정 할 경우, 해석보정 값은 오차 값만큼 보정할 경우, 계측 위치는 매 층 계측이 될 경우에 오차가 최소화되는 경향을 보였다.

목포 달성사 명부전 존상의 조성과 중수: 향엄(香嚴), 진열(進悅)

송은석 ( Song Unsok ) 미술사와 시각문화학회 2016 미술사와 시각문화 Vol.18 No.-

1565년 나주 운흥사에서 조성되었고 지금은 목포 달성사 명부전에 봉안되어 있는 지장삼존상과 시왕상 등 제 존상들은 16세기 조각승 향엄(香嚴)을 비롯한 5명의 조각승들에 의하여 제작되었다. 조각승 향엄은 이 불상들 이외에도 1534년에 제작한 보살상을 남기고 있어서, 16세기 조각승 가운데 유일하게 2점 이상의 작품을 남긴 조각승이다. 16세기 말에 일어난 임진왜란으로 인해 현존하는 조선 전기의 목조불상이 매우 희귀한 상황에서 향엄이 조성한 두 건의 불상들은 16세기 조각사의 연구에 매우 중요한 자료가 된다. 또한 1534년과 1565년에 제작된 불상들에는 양식적 특징이 동일하게 나타나 있어서, 이 기간 동안 지속적으로 불상들을 제작하였을 것으로 추정케 하며, 향엄을 중심으로 활동한 조각승 유파가 존재하였을 가능성도 보여 주고 있다. 이 불상들은 1719년에 조각승 진열, 태원 등에 의해 중수되었는데, 이때 지장보살상을 비롯한 여러 존상들의 얼굴이 변형된 것으로 확인되었다. 중수 시에 원래의 얼굴이나 불신이 크게 바뀌는 사례는 흔치 않은 일인데, 이는 조각승 진열이 추구한 중수 방식 때문인 것으로 판단된다. 진열이 1722년에 참여하여 중수한 부산 범어사 목조비로자나불좌상도 달성사 불상들처럼 얼굴의 개변이 이루어진 점으로부터도 이러한 추정이 가능하다. 또한 1719년 중수 시에는 오도전륜대왕상과 사자상 등 일부 존상들이 진열에 의해 새로 조성되었을 것으로 추정되는데, 여러 사찰에 봉안되어 있는 진열 작 불상들과 양식적으로 공통점을 갖고 있기 때문이다. 즉, 목포 달성사 명부전의 여러 존상들은 1565년 제작된 후 크게 손상되지 않고 후대의 중수에 영향을 받지 않아 향엄의 작풍을 간직하고 있는 불상군, 1719년 중수 당시에 새로이 조성되어 진열의 작풍만을 보이는 불상군, 그리고 중수 시에 진열에 의해 크게 개변되어 향엄과 진열의 작풍이 함께 나타나는 불상군 등 3가지 양식의 불상들로 이루어져 있는 것이다. 조선시대에 제작된 목조 불상들은 습기나 해충에 의해 손상되기 쉬운 재질의 특성으로 인해 시간의 경과에 따라 개금, 개채 등을 비롯한 다양한 보수 작업이 필요하였다. 현존하는 모든 조선시대 불상들은 다소간의 차이는 있지만, 여러 차례의 중수와 보수를 거친 존상들이다. 목포 달성사 명부전 존상들은 16세기 중반에 제작된 이후 여러 차례의 보수를 거치면서 향엄과 진열의 작풍이 공존하는 독특한 구성을 갖추게 되었으며, 조성, 보수, 중수, 개채 등에 의해 변화된 모습이 그대로 간직된 대표적인 불상이 되었다. It was discovered, in a record associated with the construction and renovation of the Buddha images found in various images enshrined at Myeongbu-jeon Hall (Hall of the Underworld) of Dalseong-sa Temple in Mokpo, that the statues enshrined in the hall - including the Ks. itigarbha Bodhisattva Triad, Ten Underworld Kings, Messengers, vajrapani Guardians and Boy Attendants - were originally created in 1565 by a monk-sculptor named Hyang-eom and renovated in 1719 by another monk-sculptor named Jin-yeol. Considering the fact that most of the Korean wooden cultural heritage created before the 16th century were almost destroyed by wars and internal disturbances, particularly the Japanese invasion of the Korean Peninsula in 1592 (Imjinwaeran) and the Manchu Invasion in 1636 (Byeongjahoran), these statues made in 1565 provide valuable clues for the study on and restoration of the history of Korean sculpture for Joseon period (1392-1910). The statues are particularly highly regarded for keeping the original condition almost intact, although some of the original Judge, Demon King, and Boy Attendants failed to survive. The written prayers made at the time of their creation and restoration - with the first discovered at the repositories of five statues, and the second, at those of seven statues - provide even more valuable information on the production, management, and movement of the statues. Other discoveries, including the bokjang container, dharanı, and Buddhist scriptures, also provide a fine complement to the knowledge about the tradition of storing votive offerings inside the Buddhist statues maintained during the Joseon period. Hyangeom, who led the project for the creation of the Buddhist statues enshrined in the Myeongbu-jeon Hall of Dalseong-sa Temple, also left a work he carved in 1534; thus making him the only monk-sculptor of the 16th century to have produced more than one sculpture remaining today. These sculptures maintain the same style despite the thirty-year difference in time, suggesting that he continued to be engaged in sculpture for three decades from 1534 to 1565. While there have been plenty of researches conducted in the 17th-century Buddhist sculpture and sculptors of Joseon, which was terminated with the end of the Imjinwaeran, little is known about the art and artists before the war. That is why artist Hyangeom and his sculptural works are deemed to have played a crucial role in connecting the Buddhist sculpture of early Joseon with that of the period following it. Jin-yeol and Taewon, two of the sculptors who played a key role in the restoration of Hyangeom`s works done in 1719, are now generally regarded as master sculptors who represent the Korean Buddhist sculpture in the first half of the 18th century. Of the two, Jinyeol is famous for his tendency to use his own style for the works he was commissioned to restore or reproduce; this explains how the statues originally made by Hyangeom come to display the style established by Jinyeol. The statue of Ks. itigarbha Bodhisattva is a prominent example. It is also Jinyeol, as generally agreed, whose works replaced the damaged statues of the Tenth Judge and Messenger, providing a valuable clue with respect to the restoration project for Hyangeom`s statues. The modification method adopted by Jin-yeol continued to be used with others such as regilding or repainting carried out in the following period for Buddhist statues, including the Wooden Seated Vairocana Buddha of Beomeo-sa Temple in Busan restored in 1722.