• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.38-55
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• 2019

The purpose of this study is to clarify the historical flow of baekdong alloy's usage according to the alloying materials mentioned in document records. For this purpose, we first overviewed the use of copper as a base material for white copper alloys and other types of copper alloys. Baekdong is an alloy of copper and other metals and is currently defined as an alloy of copper and nickel. However, depending on the research subjects and time of the scholars, baekdong may be defined as a metal with over a certain percentage of tin added to copper, or as an alloy of tin, zinc, and lead with copper. There is disagreement regarding the interpretation of this term. Baekdong, which started to appear in the literature of the Three Kingdoms Period, has been steadily seen through the Goryeo and Chosun Dynasties to the modern period. It has been used in various ways, according to each age and culture, from the symbol of the office to trading goods, daily life goods, and money. In the literature, baekdong's alloying material is not only copper and nickel, which are currently defined as alloys, but it is the same in that copper is used as the base metal of the alloy, although it varies slightly from generation to generation. In addition to copper, tin, zeolite, and emerald, zinc and lead also appeared. It was found that baekdong, which means alloy, and baekdong, which means white metal, were mixed. Nickel, which is the alloy material of baekdong as it is currently defined, is a metal with a relatively high discovery time and is widely used as a material for modern industrial fields. Nickel was introduced into Korea at the end of the Joseon Dynasty, but its use is not known in detail. In this study, we examined the acceptance and use of nickel-based baekdong in articles of modern newspapers and in statistical data. Based on the experience of craftsmen, we estimated the period when nickel-based alloys were used in crafts. Material is a direct factor in the development and deterioration of technology, and the development of technology is the basis for the changing of civilizations and cultures. In this context, this study was to investigate baekdong with the material of alloys as a starting point.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.106-116
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• 2017

In the 1900s, the cultural crossing of East and West was realized through the acceptance and reproduction of culture. Cultural change in the Orient was the result of attempts to harmonize the West's images, which they chose in their respective countries, with their own culture. However, research on design history until now has been centered on the West, and East was regarded as a beneficiary of civilization inherited from Western's. From the point of view of Western design history as a main trend, the unique characteristics of Korean design culture are not revealed. Therefore, through this studies, we want to distinguish Korea's modern design, which has been recognized as a minority. For the study, through the wallpaper, which is one of the detailed components of the interior space in modern times, we try to analyze the socio - cultural historical factors and design characteristics influencing the formation of the interior space in modern times. Summarizing a result of research. The early modern wallpaper of England mainly uses plants as motifs. But In Korea, animal patterns and letter patterns were used. The reason why European wallpaper was mainly a plant at the time was that the structure of the motif was useful for the process of creation. However, in the case of the Korean wallpaper pattern, the theme was selected according to the meaning of the motif, and it was abstracted appropriately for the 2D design. As a result, many geometric shapes were formed. In addition, European wallpaper pattern is more complex and organic than Korean wallpaper pattern. Therefore, the boundary of the central pattern as the basic unit is unclear and the patterns are connected. The pattern development method is not a simple repetition but a combination of symmetry and repetition. In Korea, on the other hand, the boundaries of unit patterns are clear and patterns are developed by simple repetition. There are many diamond-type repeating patterns in particular.

• The Bulletin of The Korean Astronomical Society
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• v.42 no.2
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• pp.71.3-71.3
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• 2017

Zeiss사에 의해 고안되어 제작된 최초의 근대식 천체투영기(Planetarium)는 1923년 독일박물관에 설치되었다. 세계 최초의 천체투영관은 큰 이목을 끌었고, 이 소식은 전세계로 전해져 유럽의 퍼지기 시작했고 1930년대에는 미국의 갑부들이 자기 도시에 천체투영관을 설립하였다. 우리나라는 재일동포 사업가 이현수에게 일본 GOTO사의 천체투영기를 기증받아 1967년 4월 29일 광화문 전화국 옥상에 최초의 천체투영관이 개관하였다. 이 투영기는 1970년 남산어린이회관으로 이전되었다가, 1975년 광진구에 있는 어린이회관으로 옮긴 후 2005년 퇴역하였다. 2017년은 천체투영관이 도입된 지 50주년이 해로, 2017년 10월 현재 우리나라에 88곳의 천체투영관이 운영중이며 연 200만명이 방문하는 중요한 천문교육시설이 되었다.

• Conservation Science in Museum
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• v.29
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• pp.33-46
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• 2023

Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.

• Cement
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• s.198
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• pp.13-23
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• 2013

19세기말, 산업화에 한발 앞선 일본은 경술국치의 역사를 우리 민족에게 안겨준다. 우리의 시멘트 산업은 이 같은 오욕의 역사 속에서 일본인에 의해 시작되었다. 1919년 일본인에 의해 우리나라 최초의 시멘트 공장이 세워졌으며, 이후 1945년까지 시멘트공장은 총 6개로 연산능력은 180만 톤에 이르렀다. 하지만 이 공장들은 6.25동란으로 대부분 파괴되고 만다. 일본의 전쟁물자조달을 위해 개발된 우리나라의 시멘트 산업은 광복과 전쟁을 겪고 난 이후 건설의 기초재료로서 빛을 보게 된다. 하지만 광복 전과 마찬가지로 우리나라의 자금과 기술이 아닌 외국차관과 기술에 의존할 수밖에 없는 상황이었다.

• 전기의세계
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• v.9
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• pp.51-55
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• 1962

온갖 근대국가들이 자국의 "에너지"를 합리적으로 사용하므로 예지국가를 이룩하려 함은 과학인은 물론 누구나 다 알 수 있는 일이다. 오늘날 한국철도야말로 지금까지도 열효율이 불과 4-7%에 지나지 못하였던 증기기관차를 운용하여 왔고 지금도 석유자원은 국산으로 구 할 수 없으면서 Diesel electric Locomotine에만 치중하고 전기철도화에는 등한히 하게 되는 것은 현명한방법이라고 말할 수 없다. 전철화가 가진 효율 30%이상이라는 것은 Diesel의 20-24%보다 능가하여 비록 시설면에서 막대한 투자는 하여도 세계열강국들이 앞을 다투어 우선 간선만이라도 전화하여 철도가 가진 운송의 사명을 다하고 경영의 합리화를 기하려는 것이다. 이러한 점에서 근래 전기철도에 앞선 각 나라의 전화방식과 한국철도의 전화에 대하여 교통분야에 있는 전기인으로서 생각해 보자는 것이다.해 보자는 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.94-102
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• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.24-37
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• 2021

This study was conducted to newly examine the original landscape of Buyongjeong(芙蓉亭) and Juhamnu(宙合樓) areas in Changdeokgung Palace(昌德宮), focusing on the modern period including the Korean Empire, and to derive useful research results for restoration and maintenance in the future. The study results can be summarized as follows. First, the artificial island in Buyongji(芙蓉池) was originally made up of a straight layer using well-trimmed processed stone. However, during the maintenance work in the 1960s and 1970s, the artificial island in Buyongji was transformed into a mixture of natural and processed stones. The handrail installed on the upper part of the artificial island in Buyongji is a unique facility that is hard to find similar cases. The handrail existed even during the Korean Empire, but was completely destroyed during the Japanese colonial period. Second, Chwibyeong(翠屛), which is currently located on the left and right of Eosumun(魚水門), is the result of a reproduction based on Northern bamboo in 2008. Although there is a view that sees the plant material of Eosumun Chwibyeong as Rigid-branch yew, the specific species is still vague. Looking at the related data and circumstances from various angles, at least in the modern era, it is highly probable that the Eosumun Chwibyeong was made of Chinese juniper like Donggwanwangmyo Shrine(東關王廟) and Guncheongung(乾淸宮) in Gyeongbokgung Palace(景福宮). Third, the backyard of Juhamnu was a space with no dense trees on top of a stone staircase-shaped structure. The stone stairway in the backyard of Juhamnu was maintained in a relatively open form, and it also functioned as a space to pass through the surrounding buildings. However, as large-scale planting work was carried out in the late 1980s, the backyard of Juhamnu was maintained in the same shape as a Terraced Flower Bed, and it was transformed into a closed space where many flowering plants were planted. Fourth, Yeonghwadang Namhaenggak(暎花堂 南行閣), which had a library function like Gyujanggak(奎章閣) and Gaeyuwa(皆有窩), was destroyed in the late 1900s and was difficult to understand in its original form. Based on modern photographs and sketch materials, this study confirmed the arrangement axis of Yeonghwadang Namhaenggak, and confirmed the shape and design features of the building. In addition, an estimated restoration map referring to 「Donggwoldo(東闕圖)」 and 「Donggwoldohyung(東闕圓形)」 was presented for the construction of basic data.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.34-42
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• 2014

The early post-war modern architecture introduced to Korea in the 60's and 70's have reached its 50 year cycle to emerge as candidates for the registered heritage. However, conservation is a complicated topic when applied to modern architecture due to its social and political status among general public, and is often a sacrificial target for demolition or insensitive alteration. This research tries to identify significant values extracted from the intrinsic characteristics of modern architecture, that can be applied to conducting successful renovation projects on modern architecture. The conservational values of modern architecture to be maintained are identified in this paper as: flexible open space, material and structural system, and extension of interior-exterior relation. These values are examined through the filter of comparative analysis on domestic and international conservation standards, along with cross-examination on recently renovated local works performed on the modern architecture of the period. This research aims to bring focus on conducting respectful conservation and renovation to modern architecture by identifying the significant values that is intrinsic to the modern architecture and is worth preserving.