• Korean Journal of Construction Engineering and Management
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• v.14 no.1
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• pp.32-42
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• 2013

The Korean Government introduced a cultural heritage supervision system in January 2010 to control quality and to prevent poor construction. However, cultural heritage related constructions that require supervision, a scope of supervision, supervision cost and placement of supervisors have not been standardized yet. For this reason, standards of supervision for repair works of cultural heritage that reflect the characteristics of small-scale repair works and restoration of cultural heritage are required. Accordingly, this study has suggested standards of supervision works and cost by analyzing the average construction period that is suitable for the characteristics of cultural heritage repair works. In other words, this study has suggested standards of full-time supervision costs by applying the fixed amount-added method (adding direct labor cost, direct expenses, overhead expenses, engineering fee, charges for additional works and VAT) which is the same as the method of calculating supervision costs for public construction projects because a supervisor has to work full time at a construction site to perform supervision if the project is a mid/large-scale cultural heritage repair work. Also, this study has suggested standards of part-time supervision costs for a small-scale cultural heritage repair work and the ways of supervising the construction projects by visiting the project site on important occasions. According to the result of the analysis by applying the forgoing standards of supervision costs for cultural heritage, a full-time supervision cost for cultural heritage repair works is approximately 98% compared to the construction supervision of a public construction project, and a part-time supervision is approximately 158% compared to architectural construction supervision. It is expected that the valuable cultural heritage of Korea will be preserved by controlling quality of cultural heritage repair works through the application of this study result - the standards of supervision costs for cultural heritage repair works - to an actual project.

• The Bulletin of The Korean Astronomical Society
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• v.43 no.1
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• pp.64.4-65
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• 2018

We present a study of citizen science performed at Korean Minjok Leadership Academy (KMLA). The importance of citizen involvements in scientific studies has been increasing, with remarkable results and performances. For instance, the discovery of an impact scar near Jupiter's south polar region (A. Wesley, 2009) led to an international campaign of professional observations to understand the asteroidal collision responsible for the scar. Citizen science at KMLA has been and will be mainly conducted by members of the astronomical observation club 'Apple-Pie' through amateur telescopes. Members of 'Apple-Pie' are specialized in various fields related to astronomy, from planetary science to cosmology. The spectrum not only includes fields that are directly related to astronomy but also fields such as computer science and astrophotography. The scheduled construction of a new observatory will further enable students to participate in higher level projects such as planetary monitoring over long timescales and the observation and detection of solar system bodies and exoplanets. In addition, a new supervisor with expertise and research experience in galactic astronomy, planetary science, and meteorology has joined the school faculty. He will supplement students with fundamental theoretical backgrounds and essential research techniques to enhance astronomical research at KMLA. KMLA's ultimate goal is to deploy a remote-controlled observatory available to aspiring scientists around the world to create a network of citizen science system. The prime observational conditions of KMLA and the willingness of the students and faculty members will provide a competitive edge for KMLA over other similar institutes in Korea.

• Journal of the Korean Society of Safety
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• v.36 no.4
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• pp.80-87
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• 2021

Risk assessment techniques are processes used to evaluate hazardous risk factors in construction sites, facilities, raw materials, machinery, and equipment, and to estimate the size of risk that could lead to injury or disease, and establish countermeasures. The most important thing in assessing risk is calculating the size of the risk. If the size of the risk cannot be calculated objectively and quantitatively, all members who participated in the evaluation would passively engage in establishing and implementing appropriate measures. Therefore, this study focused on predicting accidents that are expected to occur in the future based on past occupational accident statistics, and quantifying the size of the risk in an overview. The technique employed in this study differs from other risk assessment techniques in that the subjective elements of evaluators were excluded as much as possible by utilizing past occupational accident statistics. This study aims to calculate the size of the risk, regardless of evaluators, such as a manager, supervisor, safety manager, or employee. The size of the risk is the combination of the likelihood and severity of an accident. In this study, the likelihood of an accident was evaluated using the theory of Bud Accident Chainability, and the severity of an accident was calculated using the occupational accident statistics over the past five years according to the accident classification by the International Labor Organization.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.139-148
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• 2011

This study has a purpose of base study for ascertaining landscape architect's role of Reung Chambong through analyzing old literature include Kyungkukdae-Jeon, Sokdae-Jeon, Daejeonhoitong, Joseonwangjo-Sillok, Eugye, Reung-Ji, Ilsung-Rok, Reung Chambong's diary. Reung Chambong was a government post in the Joseon dynasty, who managed Royal Tombs of Joseon Dynasty that has promoted as a World Heritage of UNESCO. the conclusions drawn from this study are as follows. First, Reung Chambong was comprised of two Jong 9 pum Chanmbong members. a position of Reung Chambong was a Eumjik appointed Saengwon, Jinsa, Yuhak completed Sammang. the standards of appointment is a experienced person and too young. it became means for accessing a government post because it had a symbolic representation of Royal Tombs guardian. Second, The management system of Reung Chambong was approved on the basis of ranking. however, due to geographical reasons, they had much authority and various mission than is possible. for example, construction supervisor of the Reung and Bongsim, manager of the Reungsuhogun and filling out Reungji. they performed an important role in management of Royal Tombs in the Joseon dynasty. Third, One of tasks related in landscape architecture, a Bongshim reported Sukmul(stonework), Sacho, Jungja-Gak of Reungsang to Yejo periodically. formational system and method of Bongshim are provided in the Kyungkukdae-Jeon and Sokdae-Jeon detailedly. Fourth, Tree management and construction supervisor of Reungsang, positions among tasks related in landscape architecture, required basic understanding and management ability of botany, various eye for spatial perception includes civil and architectural projects. also, as a site management of Royal Tombs in the Joseon dynasty, Reung Chambong was empowered tacit authorization and responsibility in mobility preoccupancy of vertical relationship with local officials and handling by-product of site. there is a close correspondence with landscape architect of today. A follow-up research is required to ascertain landscape architect historical values of Royal Tombs in the Joseon dynasty and Reung Chambong's role as a site management of Royal Tombs in the Joseon dynasty through historical seeking and research old literature on Reung Chambong's role related in landscape architect.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.38 no.5
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• pp.751-760
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• 2018

Currently, the quality measurement of the work is carried out by the supervisor's visual inspection, as the workers individually judge the number of resolutions, thickness, speed and vibration. After work, we are conducting follow-up work through traditional spot test, which is less representative. Therefore, it is impossible to check the results of the resolution, and there is always the possibility that problems will arise due to poor construction. This study demonstrates the feasibility of using the continuous compaction strength measurement method by comparing the continuous compaction strength measurement method and the conventional compaction strength measurement method after performing the compaction in the actual field scale in various test conditions. The validity is verified by analyzing the Compaction Meter Value of an Intelligent Compaction roller composed of a Global Positioning System and an accelerometer, Based on the proven results, a full range of quality can be confirmed without a single test. The quality confirmation is visualized in the compaction control program developed in this study, This enables the field manager to perform real-time quality monitoring at the same time as compaction.

• Journal of the Korean Institute of Educational Facilities
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• v.25 no.5
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• pp.3-12
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• 2018

The purpose of this study is to examine the degree of appropriateness of using design quality indicators for the educational building, and complements for design quality indicators. For doing this, each items of the Korean educational building design indicator was validated by teachers, school staff and an education officer. First, School Personnel and Teachers considered indicators for the classroom designed for general subjects as being valid. However, in terms of indicators for the outside space, they thought of them as not being valid. In particular, it seemed that school staff would have a passive attitude toward the open of the school facility for the local society. It is judged that there happens an adverse effect caused by the open of the school facility for the local society in the educational environment of the school. Second, Education Office Supervisors thought that eco-friendly indicators, LED lighting, an outer wall, and widows and doors had a high validity. On the contrary, he viewed the validity of a rainwater retention basin as being low, which was likely because he rarely had expertise on the construction. When it comes to the indicator of technology capability, ultrahigh-speed information network was seen as being valid, and the indicator of economic feasibility had high validity on maintenance and durability. Third, compared to groups of Teachers and School Personnel, the group of education officers presented high validity of indicators. Validity of indicators might be differently showed because different items on indicators were measured. However, it is speculated that Education Office Supervisors mostly acknowledged the validity of indicators. Fourth, a majority of Teachers, School staff, and Education Office Supervisors were favor of the system of the evaluation accreditation for school facilities since it played a guide role in improving the quality of school. In order to settle the system of the evaluation accreditation for school facilities, it is most important that institutions in the local society which are publicly reliable should participate in the phase of designing the system of the evaluation accreditation for school facilities. In sum, overall respondents agreed with the system of the evaluation accreditation for school facilities but were aware that reliable organizations in public would need to take part in planning the system of the evaluation accreditation for school facilities from the beginning.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.