• Journal of architectural history
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• v.25 no.4
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• pp.57-64
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• 2016

It was believed that Jeongnimsa temple was built after the capital was moved from Gongju to Buyeo. It was confirmed that it was built A.D. $625{\pm}20$ by conducting a paleomagnetic analysis on the fireplace, which was recently found at the bottom of Jungmunji(middle gate). Consequently, it is assumed that the temple was built in the early 7th century unlike the previous point of view. Therefore, this study evaluated if the fireplace at the bottom of Jungmunji was found at the geological stratum representing the Jeongnimsa temple. Moreover, the study examined when the fireplace at the bottom of Jungmunji was constructed on the soil stratum. It is possible that the fireplace was built in the early 7th century as shown in the paleomagnetic analysis. However, when we compared the soil strata of the Jungmunji and the existing five-story stone pagoda, it showed that the ground was prepared differently and they were built over a fairly long period of time. Furthermore, I discovered that there was a wooden pagoda under the five-story stone pagoda by examining the soil strata map. Therefore, previous studies evaluated the arrangement of auxiliary buildings of Jeongnimsa temple and concluded that it was built in the early 7th century. It is hard to determine when the temple was built based on the arrangement of auxiliary buildings, because it takes a long time to build a temple and auxiliary buildings can be relocated during this long construction period. Rather, we have to admit that there are various arrangement patterns through minor changes in buildings from the one pagoda and one main building(Geumdang) arrangement.

• Steel and Composite Structures
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• v.18 no.1
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• pp.149-163
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• 2015

Orthotropic steel highway bridges exist almost everywhere in world, especially in Europe. The design of these bridges started very early in 20th century and ended with a conventional orthotropic steel bridge structure, which is today specified in DIN FB 103. These bridges were mostly built in 1960's and exhibit damages in steel structural parts. The primary reason of these damages is the high pressure that is induced by wheel- loads and therefore damages develop especially in heavy traffic lanes. Constructive rules are supplied by standards to avoid damages in orthotropic steel structural parts. These rules are first given in detail in the standard DIN 18809 (Steel highway- and pedestrian bridges- design, construction, fabrication) and then in DIN- FB 103 (Steel bridges). Bridges built in the past are today subject to heavier wheel loads and the frequency of loading is also increased. Because the vehicles produced today in 21st century are heavier than before and more people have vehicle in comparison with 20th century. Therefore dimensioning or strengthening of orthotropic steel bridges by using stiffer dimensions and shorter spans is an essence. In the scope of this study the complex geometry of conventional steel orthotropic bridge is generated by FE-Program and the effects of cross beam web thickness and cross beam span on steel bridge are assessed by means of a parameter study. Consequently, dimensional and constructional recommendations in association with cross beam thickness and span will be given by this study.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Industry Promotion Research
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• v.5 no.3
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• pp.145-155
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• 2020

Co-operatives are a deep-rooted organization that was first organized in Britain in the 19th century and spread to Europe and North America in the early 20th century and to the rest of the world from the mid-20th century. Cooperative in Italy are fraternal (friendly societies) separated from religion, and in the early days of socialism and the late 19th century Catholic Italy, but independent of activity. And the Church's social participation, as well as multiple personalities. Therefore, the purpose of this study is to study the laws and institutions of Italian cooperatives. And let's look at how the laws and systems of Italian co-operatives support society and the national economy. Specifically, firstly, based on prior research, the concept of co-operatives and the cooperative movement and social values are considered. Second, review the development process and characteristics of Italian co-operatives and the legal system. Third, I would like to analyze the case of Italian co-operatives. Fourth, suggest implications according to the results of the study. The results of the study suggested the following. First, the attitude such as attachment and sincerity of representatives and staff of village enterprises is very important. Second, all members of the organization should participate in decision making with empathy and attachment to the vision of the village enterprise. Third, it should be highly likely that village enterprises, which can draw capital from outside according to the needs of the organization, will generate higher economic results. Fourth, it is important to establish a model of mind enterprise by presenting factors and success factors in establishing a village enterprise based on cases and theories. In conclusion, Co-operatives should contribute to social contribution rather than economic profit-seeking.

• Journal of architectural history
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• v.29 no.5
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• pp.29-40
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• 2020

Ui-Gum-Bu(義禁府) is regarded as a key organization that reflects the power of the royal authority, mainly because it directly obeys the king's command and retains the power to punish or pardon government officials for severe crimes such as treason or significant breach of Confucian ethics. For this reason, Ui-Gum-Bu held a higher place in the organizational hierarchy of the government than other similar offices such as Hyung-Jo(刑曹), Sa-Heon-Bu(司憲府) and P o-Do-Cheong(捕盜廳). This characteristic of Ui-Gum-Bu is also evident in the architectural style and composition of the office building. The figures of the Ui-Gum-Bu office is depicted in detail in the paintings listed in 『Gum-Oh-Gye-Cheop(金吾契帖』, a record of Ui-Gum-Bu office meetings, and descriptions in the code book 『Gum-Oh-Hun-Rog(金吾契帖)』, both written in 18th century. The purpose of this study is to reveal the overall transition process of the Ui-Gum-Bu office building from the beginning until its demolition in the early 20th century. Based on research materials of 18th century, its architectural composition and characteristics will be dealt in detail.

• Journal for History of Mathematics
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• v.20 no.4
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• pp.1-21
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• 2007

We investigate the Gou Gu Shu(句股術) in Hong Jung Ha's Gu Il Jib(九一集) and Cho Tae Gu's Ju Su Gwan Gyun(籌書管見) published in the early 18th century. Using a structural approach and Tien Yuan Shu(天元術), Hong has obtained the most advanced results on the subject in Asia. Using Cho's result influenced by the western mathematics introduced in the middle of the 17th century, we study a process of a theoretical approach in Chosun mathematics in the period.

• The Journal of Natural Sciences
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• v.7
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• pp.121-131
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• 1995

Orientalism showed in early 20th century as change of Style. Modern characteristics is understanded through big stream of change before historical conception. Change of style in West began by artist having oriental and exotic taste. These are mimesis of outershape about Japanese, Moroco, north Africa etc. Theses are called chinoiserie & turquise taste. Stream of 20th century style is continued expressionism. Cubism, Sur realism, Pop Art etc. but in my thesis orientalism is caused change of 20th Century after exotism (after showed as Primitivism ). In modern costume, concerned works of Paul Poiret changed body concious. He's a image creator as Yve St. Laurent, Chanel, Balenciaga. At that time Russia Ballet, Fauvist, vivid colors are back ground of series of modern costume. Soft and sleek body, transparent stocking, minaret tunic, turban is begin of oriental image. Modern costume and modern art are begins as change of aesthetic taste before historical conception.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.13-21
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• 2008

The purpose of this study is to analyze the development and characteristics of movable-housing planning concept. A document research method was used to analyze and classified the development of the movable-housing concept of 20th century. Through this study, the following conclusions have been reached; First, the origin of the movable-housing is from the prehistoric and traditional portable buildings, also due to the emergence of nomadic lifestyle using car traveling and mobile home in the 1920's. Second, the development of the movable-housing in 20th century was classified as follows; (1) In order to obtain the productivity and efficiency drawing from the industrialized-housing in the early of 1900s, movable furniture and flexibility was proposed. (2) American mobile home in 1920's, influenced by the development of car industry, was the most successful example of a factory-built building to be found in the world. (3) Dymaxion house and dome by R.B.Fuller, an aggregation of high-tech mechanical equipment, had a great impact on the development the concept of 'mobility' and influenced Archigram & Metabolist's movable capsule ideas in 1960's. (4) The lightweight materials such as plastic, duralumin and pneumatic structure were adopted for movable-housing in 1960's. Through this research, It is discovered that the stage of social development has close links with the developing aspects of movable-housing concepts. This study shows that the combination of three planning concepts such as flexible housing, mobile-housing and capsule will be more ideal in movable-housing planning rather than relying on just one type.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..

• Journal of the Korean housing association
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• v.26 no.3
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• pp.11-24
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• 2015

There have not been many debates on the subject of Korean architecture during the transformative period of Gae Wha Gi (開化期: Enlightenment Period of Korea), when Western-style buildings first appeared in Seoul. This study begins by finding and recording those buildings in Seoul that show the gradual adoption and appropriation of Western architectural elements at the turn of the 20th century. By exploring the confluence of two different architectural styles, this paper attempts to look carefully at the hybrid conditions that resulted from encounters between the Koreans and the Westerners in the late 19th and early 20th century. Beginning with discovering the first products of the Western architectural influence in Seoul, this study explores the uneasy co-existence between the traditional Korean architectural style, and the Western architectural style. This co-existence ultimately bred new building techniques, and interior layouts; the appearance of these hybrid buildings illustrate the gradual transition from the traditional way, in which users modified, combined and appropriated various elements from both styles. Analyzing historical documents and photos, this study tries to capture a detailed image of the period when the influence of the Western architecture had an unavoidable impact and brought change to the traditional architecture of Korea.