• Archives of design research
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• v.18 no.4 s.62
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• pp.257-266
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• 2005

The purpose of this study is to investigate the psychological reaction to the image of the worship space in the church buildings and to quantify its contribution of the stimulation elements causing such reaction, and finally to suggest basic data for realizing emotional worship space of the church architecture. For this, 143 christians were surveyed to analyze the relationship between 23 emotional expressions extracted from the worship space and 32 images of the worship space. The combined data was described with the two dimensional dispersion using the quantification theory III. The analysis found out that 'simplicity-complexity' of the image consisted of the horizontal axis (the x-axis) and 'creativity' of the image the vertical axis(the y-axis). In addition, to extract the causal relationship between the value of emotional reaction and its stimulation elements quantitatively, the author indicated 4 emotional word groups such as simple, sublime for x-axis and typical creative for y-axis based on its similarity by the cluster analysis, The quantification theory I was also used with total value of equivalent emotional words as the standard variance and the emotional stimulation elements of the worship space as the independent variance. 9 specific examples of the emotional stimulation elements were selected including colors and shapes of the wall and the ceiling, shapes and finish of the floor materials, window shapes, and the use of the symbolic elements. Furthermore, 31 subcategories were also chosen to analyse their contribution on the emotional reaction. As a result, the color and finish of the wall found to be the most effective element on the subjects' emotional reaction, while the symbolic elements and the color of the wall found to be the least effective. It is estimated that the present study would be helpful to increase the emotional satisfaction of the users and to approach a spatial design through satisfying the types and purposes of the space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.8-20
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• 2023

Although the landscape architectural facilities need to be repaired according to historical and authentic techniques, the repair criteria of the standard specification for repairing cultural heritages still remain at a theoretical level, and there are little research analyzing detailed techniques from specific cases. This study discussed the repair techniques based on historical facts, around terraced flower beds, ponds, waterways and pavement in the government-managed spaces in the Joseon Dynasty. It analyzed the materials and finish of stone wall elements, the structural reinforcement and backfill materials, and topsoil surface protection measures, and drew out stones for foundation reinforcement, plastering material for agglutination, and stone processing techniques for the terraced flower beds. It examined the materials and structures of the rock revetment, foundation reinforcement and waterproofing techniques and drew out the outstanding characteristics of the foundation work, the recycle of used elements and the management of water quality, for the ponds. It primarily investigated the materials, foundation reinforcement and waterproofing techniques and discovered the repair techniques such as cover stone finishing methods, foundation and backfill materials, and flow reduction methods, for the waterways. Finally, it provided actual cases of the foundation composition, auxiliary materials and tools, and the use of cyperaceae and highlighted the existence of professional craftsmen called Bangjeonjang(方磚匠), for the pavement. This study is expected to be a staring point for discovering the repair techniques for landscape architectural facilities and used as basic data for revising specifications in the future.

• Economic and Environmental Geology
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• v.51 no.1
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• pp.49-65
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• 2018

The lime-soil mixture on tomb barrier (LSMB) is a type of tomb in Joseon Dynasty, which made with so-called 'Sammul' (three material compound) that mixture of lime, fine sand and yellow ocher. This study divided the tombs of the Gungri Site from Joseon Dynasty with layered wall and integrated wall according to the manufacturing types, and investigated on the basis of analysis to material characteristics and making techniques. Analytical samples were classified with lime-soil mixtures and soils, and interpreted the mixing characteristics of Sammul based on types of tomb barrier. The tomb barrier which is directly effect to control the inner environment was made with high content of lime. But the finishing or bottom layer were made with low content of lime. Overall the LSMB with integrated wall has higher content of lime and physical property than the LSMB with layered wall. The soil which was compounded as a Sammul and collected near the Gungri Site had similar with mineralogical and geochemical characteristics. Therefore, it is presumed that the fine sand and yellow ocher that made as a Sammul, were used with soil that was distributed around the site. Meanwhile, large scale limestone quarry is distributed near the site. Especially, Gungri Site has a possibility of material supply through water transport, due to the sea route from Asan bay is connected near the site. Thus, there is the possibility of transportation of lime materials from nearby quarry.

• Journal of Animal Environmental Science
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• v.7 no.3
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• pp.147-154
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• 2001

An experiment was conducted to examine environmental influences upon the behavioral pattern of pigs. The resting areas of an enclosed growing-finishing pig house were checked in two seasonal ventilation systems, and the excretion habit of pigs influenced by the different closing rates (50, 75 and 100%) of side walls of pens was surveyed. 1. The excretion habit of pigs was not influenced by temperature, humidity and the flow speed of running air as they excreted in a fixed area of the side walls. However, the lighting effects on the excretion habit was observed because pigs excreted in the darkest area of the pig pen. 2. The accumulated height and width of feces showed 10 and 30 cm; 5 and 25cm; and 3 and 20cm for 50, 75 and 100% of closing rates of side walls, respectively. It indicates that pigs excrete all over the floor in the pen with 100% closed side walls. 3. Ammonia concentrations of the resting areas on the pen floor were determined to 4.2, 5.1 and $5.8mg/{\ell}$ for 50, 75 and 100% of closing rates of side walls, respectively. It indicates that the ammonia concentration was highest in the pen with 100% closed side walls. Thus, the high ammonia concentration of the resting areas could be reduced by illuminating the darker areas with relation to the excretion habit. 4. The flow speed of running air was likely the biggest factor influencing the resting areas of pigs; pigs took a rest at the place of 0.04 m/s air flow speed point during midwinter, and at the place of 0.24 m/s air flow speed point during midsummer.

• Design Convergence Study
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• v.15 no.5
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• pp.71-83
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• 2016

Interior panels are usually used in finishing of interior walls for not only decorative effects but also information transfer. According to designer's design placing interior panels may need repetitive tasks and the emphasis of this paper is to support an automation of these tasks. Considering the utilization characteristics of interior panels, we propose three method to present patterns by using bitmap image pixels and interior panels' shape changes, based on the theoretical consideration. In addition, in order to approve the possibility of the proposed methods, we have implemented the BIM based interior panels auto layout tool which applied one of the three methods to present patterns by using bitmap image pixel values and panel identification attributes. This tool also supports auto generation of quantity and panel arrangement sequence information that will be used in future construction phase. We expect that this approach will also be used in other decorative objects which require repetition of the basic units, such as floor tiles.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.86-111
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• 2011

Wan is a tableware in which boiled rice or soup, side dish are put, and it is a representative model which shows the development of personal tableware. From the establishing period of Hanseong Baekje, the form of wan which is Jung-do Style(中島式) Plain Pottery of previous period Proto-Three Kingdoms Period was succeeded to, but wan is produced and used as a wan baked in the kiln, which is far development of the producing technique including hardness and clay. By and large, the size of $0.3{\sim}0.4{\ell}$ was the majority and the production technique of wan which used carefully selected soft quality clay are largely confirmed to be two methods which are, first, basic method by which on a clay tablet on the rotating table, clay band is accumulated and moulding is finished, and second, the new method which had the same basic moulding as that of basic method but in the last stage takes wan off the rotating table and reverse it to trim the bottom and remove the angle of flat bottom. The former, basic production method is the classical production method since wan of Jung-do Style Plain Pottery and wan was produced and used for all periods of Hanseong Baekje. On the other hand, the latter is the production method obtained through form imitation of China made porcelain flowed into through interchange between Baekje and China, and through comparison with Chinese chronogram material it is estimated to have been produced and used after middle of 4th century. Therefore it can be known that the Baekje people's demand for China made articles was big and imitation pottery was produced and used with Baekje pottery. In addition, bowl with outward mouth are confirmed in multiple number in Lakrang(樂浪) pottery wan and it is assumed that wan was the form produced under the influence.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.104-129
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• 2020

Designated as a national treasure of Korea and inscribed on the UNESCO World Heritage List, the Tripitaka Koreana at Haeinsa Temple is the world's oldest and most comprehensive extant version of the Tripitaka in Hanja script (i.e., Chinese characters). The set consists of 81,352 carved woodblocks, some of which have two or more copies, which are known as "duplicate woodblocks." These duplicates are supplementary woodblocks (bogakpan) that were carved some time after the original production, likely to replace blocks that had been eroded or damaged by repeated printings. According to the most recent survey, the number of supplementary woodblocks is 118, or approximately 0.14% of the total set, which attests to the outstanding preservation of the original woodblocks. Research on the supplementary woodblocks can reveal important details about the preservation and management of the Tripitaka Koreana woodblocks. Most of the supplementary woodblocks were carved during the Joseon period (1392-1910) or Japanese colonial period (1910-1945). Although the details of the woodblocks from the Japanese colonial period have been recorded and organized to a certain extent, no such efforts have been made with regards to the woodblocks from the Joseon period. This paper analyzes the characteristics and production date of the supplementary woodblocks of the Tripitaka Koreana. The sutra with the most supplementary woodblocks is the Maha Prajnaparamita Sutra (Perfection of Transcendental Wisdom), often known as the Heart Sutra. In fact, 76 of the total 118 supplementary woodblocks (64.4%) are for this sutra. Hence, analyses of printed versions of the Maha Prajnaparamita Sutra should illuminate trends in the carving of supplementary woodblocks for the Tripitaka Koreana, including the representative characteristics of different periods. According to analysis of the 76 supplementary woodblocks of the Maha Prajnaparamita Sutra, 23 were carved during the Japanese colonial period: 12 in 1915 and 11 in 1937. The remaining 53 were carved during the Joseon period at three separate times. First, 14 of the woodblocks bear the inscription "carved in the mujin year by Haeji" ("戊辰年更刻海志"). Here, the "mujin year" is estimated to correspond to 1448, or the thirtieth year of the reign of King Sejong. On many of these 14 woodblocks, the name of the person who did the carving is engraved outside the border. One of these names is Seonggyeong, an artisan who is known to have been active in 1446, thus supporting the conclusion that the mujin year corresponds to 1448. The vertical length of these woodblocks (inside the border) is 21 cm, which is about 1 cm shorter than the original woodblocks. Some of these blocks were carved in the Zhao Mengfu script. Distinguishing features include the appearance of faint lines on some plates, and the rough finish of the bottoms. The second group of supplementary woodblocks was carved shortly after 1865, when the monks Namho Yeonggi and Haemyeong Jangung had two copies of the Tripitaka Koreana printed. At the time, some of the pages could not be printed because the original woodblocks were damaged. This is confirmed by the missing pages of the extant copy that is now preserved at Woljeongsa Temple. As a result, the supplementary woodblocks are estimated to have been produced immediately after the printing. Evidently, however, not all of the damaged woodblocks could be replaced at this time, as only six woodblocks (comprising eight pages) were carved. On the 1865 woodblocks, lines can be seen between the columns, no red paint was applied, and the prayers of patrons were also carved into the plates. The third carving of supplementary woodblocks occurred just before 1899, when the imperial court of the Korean Empire sponsored a new printing of the Tripitaka Koreana. Government officials who were dispatched to supervise the printing likely inspected the existing blocks and ordered supplementary woodblocks to be carved to replace those that were damaged. A total of 33 supplementary woodblocks (comprising 56 pages) were carved at this time, accounting for the largest number of supplementary woodblocks for the Maha Prajnaparamita Sutra. On the 1899 supplementary woodblocks, red paint was applied to each plate and one line was left blank at both ends.