• Archives of design research
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• v.11 no.3
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• pp.177-185
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• 1998

Started from the Industrial Revolution in England, the design movement, the concept of plastic arts is spread and developed in many European countries. It meets new phase due to the much more developed industrial techniques and internationalized era since the World War II. The concept of identity in design appeared with industrial diversification, specialization, and inter- nationalization comes out through every visual identification standards. And the concept is used in public facilities and groups such as national institutions, schools, hospitals, or lots of religious bodies, as well as in industries to aim at the most profit from products' sale. Since the opening of Seoul National University of Technology in 1910, the university which has long history and tradition of about 90 years has used the unique visual identification in changing the University name to meet with the surrounding environment and the timely characteristics. However, the English name for the University was changed in 1998, so the new era to leap was open. Therefore, the University introduced formally the concept of U. I. (University Identification) with the new image. It is an inevitable outcome of modern time.

• Journal of Conservation Science
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• v.33 no.3
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• pp.155-165
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• 2017

As interest in the public display of art and outdoor sculptures is increasing, the conservation and treatment of these sculptures is becoming increasingly crucial. Long-term exposure to the natural elements and atmospheric pollution can cause corrosion and deterioration in outdoor sculptures. In the case of Kim Chan Shik's "Feeling", which was exhibited in the outdoor sculpture park at the National Museum of Modern and Contemporary Art (MMCA), the patina of the sculpture was damaged during a long outdoor exhibition. Therefore, the treatment process was as follows: recording of condition, sanding, repatination, and wax coating. Consequently, the sculpture was restored similar to the original. Chemical analysis revealed that the sculpture was crafted from bronze and was cast from a quaternary alloy of Cu-Pb-Sn-Zn. The welding is lower in Zn, Sn, and Pb content than the metal used in the sculpture itself. Bright strains contain about 13.0 wt% Sn and 10.5 wt% Pb. The strains are higher in Sn and Pb content than the rest of the metal in the sculpture (7.0 wt% Sn and 4.4 wt% Pb). As a result of component analysis and microstructure observation, the material is estimated to have been made by casting without artificial treatment.