• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.55-61
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• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• Wind and Structures
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• v.34 no.5
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• pp.407-419
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• 2022

Many factors should be considered by architects and designers for designing a tall building. Wind load is one of these important factors that govern the design of tall building structures and can become a serious challenge when buildings tend to be built very tall and slender. On the other hand, through the initial stages of a design process, choosing the design geometry greatly affects the wind-induced forces on a tall building. With this respect, geometric shapes with 3-fold rotational symmetry are one of the applied plan shapes in tall buildings. This study, therefore, aims to investigate the aerodynamic characteristics of 8 different geometrical shapes using Computational Fluid Dynamics (CFD) by measuring the drag and lift forces. A case study approach was conducted in which different building shape models have the same total gross area and the same height of 300 meters. The simulation was an incompressible transient flow that ran 1700 timesteps (85 seconds on the real-time scale). The results show a great difference between wind-induced force performance of buildings with different plan shapes. Generally, it is stated that the shapes with the same area, but with smaller perimeters, are better choices for reducing the drag force on buildings. Applying the lift force, the results show that the buildings with plan shapes that have rounded corners act better in crosswind flow while, those with sharp corners induce larger forces in the same direction. This study delivers more analytical understanding of building shapes and their behavior against the wind force through the parametric modelling.

• Journal of Conservation Science
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• v.38 no.1
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• pp.45-54
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• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• Advances in nano research
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• v.14 no.6
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• pp.507-519
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• 2023

Postsurgical infections are caused by implant-related pathogenic microorganisms that lead to graft rejection. Hence, an intrinsically antibacterial material is required to produce a biocompatible biomaterial with osteogenic properties that could address this major issue. Hence, this current research aims to make strontium-doped hydroxyapatite nanorods (SrHANRs) via an ethylene diamine tetraacetic acid (EDTA)-enable microwave mediated method using Anodontia alba seashells for biomedical applications. This investigation also perceives that EDTA acts as a soft template to accomplish Sr-doping and mesoporous structures in pure hydroxyapatite nanorods (HANRs). The X-ray diffraction (XRD) and transmission electron microscopy (TEM) analysis reveals the crystalline and mesoporous structures, and Brunauer-Emmett-Teller (BET) indicates the surface area of all the samples, including pure HANRs and doped HANRs. In addition, the biocidal ability was tested using various implant-related infectious bacteria pathogens, and it was discovered that Sr-doped HANRs have excellent biocidal properties. Furthermore, toxicity evaluation using zebrafish reports the non-toxic nature of the produced HANRs. Incorporating Sr²⁺ ions into the HAp lattice would enhance biocompatibility, biocidal activity, and osteoconductive properties. As a result, the biocompatible HANRs materials synthesized with Sr-dopants may be effective in bone regeneration and antibacterial in-built implant applications.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• The Journal of Art Theory & Practice
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• no.4
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• pp.7-32
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• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• Journal of the Korean Graphic Arts Communication Society
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• v.21 no.2
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• pp.11-20
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• 2003

In Flexo printing machine, it's operated with combination of blanket cylinder and cylinder. The blanket cylinder has some number of grooves to attach the blanket on surface. In case of operating the printing machine, it has generate mechanical noise when the two cylinders encounter with the grooves. So, in this study, we developed a mechanical noise control algorithm of printing in servo control system. Then we have reduced the mechanical noise with control of servo actuator.

• Journal of the Korea Furniture Society
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• v.28 no.1
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• pp.72-79
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• 2017

The knobs of the Joseon dynasty furniture were mainly made with metal in its consideration about durability and decorative characteristics, small pieces of furniture, the Kori types of knobs, big furniture, that desires, descendants. Meanwhile huge furniture had Butchimdae which can be used also as the locking mechanisms, or just the locks which were used as handle. The handle type included the idea of shamanism that desiring health and longevity, scholarly spirit and prosperity of descendants, therefore the design metaphorically contained the shape of the long-living and prolific animals and plants. Even though traditional furniture were constructed as succinct proportions and simple decoration because of the affect of Confucianism. Therefore, we can notice the hope forefathers indwelling in the handles made of metal.

• Journal of the Korean Graphic Arts Communication Society
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• v.23 no.1
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• pp.53-63
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• 2005

The quality of the print can be specified through the quality of the coloring, the reproduction of fine structures and the range of tone values. Also, package printed quality are controlled by this points. In this paper, densitometry method was used for printed quality. By densitometry we can get the print density and the parameters of each conditions that characterize halftone printing, such as dot gain and relative printing contrast. Also, we have proposed the optimizes range of the parameters such as density, dot gain etc. to the package printed printability control.