• Journal of the Korean Wood Science and Technology
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• v.32 no.5
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• pp.75-85
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• 2004

The natural dyes from Gardenia jasminoides, Carthamus tinctorius L., Rhus javanica, Lithospermum erythrorhizon, Caesalpinia sappan L., and Castanea crenata were extracted under different pH in distilled water, As the pH in distilled water went from acid to alkali, the much deeper colors in the same color tone were generated from the individual plant species. Before dyeing, wood species were treated by different mordants including AI, Cu, Cr and Fe for color-fixing between wood and the natural dyes. Each mordant could develop independent color on the surface of the woods. The wood species dyed by the natural dyes created deep-tone colors according to higher pH and temperature of the dyeing solution, leading to deeper penetration of the dyes into the wood tissues. Finally through the computer modelling of natural-dyed wood furniture, it was confirmed that the colored furniture can adequately be compatible with the current interior spaces of diverse colors.

• Korea Science and Art Forum
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• v.20
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• pp.267-277
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• 2015

The whole world enters the ageing era and 'lifelong education' is issued where the elderly can learn knowledge and techniques caused by era-change. Museum is a cultural public-facility and taking roles to provide education with spatial composition of contents and articles at exhibition. Therefore, museum can be a learning space for the elderly, performance of learning, environmental support to museum is required considering their physical characteristics. This study aims to develop a environmental design checklist at museum and to provide a frame for environmental plans to support the elderly for smooth watching of exhibition and education at museum. The environmental design checklist at museum was drawn for the spaces for entry, exhibition, public-service, educational activity and movement at museum, based on physical characteristics of the elderly or the criteria of 'sense (eye-sight, hearing and feeling by tough)' / 'exercise (skeleton, movement, physical strength and muscular strength). The environmental design checklist at museum for the elderly was composed newly by combining existing related acts, manuals, and preceded studies. For future studies, actual survey items at site and questionnaires for the elderly watchers were drawn.

• Korean Journal of Environmental Biology
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• v.41 no.4
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• pp.712-719
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• 2023

This study investigated the diversity of butterfly communities inhabiting agroecosystems and examined the effect of latitude and longitude. The ecological characteristics of butterflies inhabiting rural ecosystems, such as habitat preference and food plant range, were also examined. This study was conducted from 2019 to 2022, selecting 10 locations nationwide and conducting line transect surveys every two weeks for four years, confirming a total of 112 species and 21,901 individuals. There was no difference in the number of species and individuals by region, but there was a clear difference in community composition. The most abundant species in rural ecosystems were Pieris rapae, Polygonia c-aureum, Zizeeria maha, and Colias erate, in that order. There was no significant difference in the number of species and individuals by latitude and longitude, indicating no peninsula effect. Habitat preference showed that butterflies preferring grasslands and forest edges were much more common than those preferring the forest interior, and the food breadth was mostly oligophagous, followed by monophagous and polyphagous. Butterflies inhabiting agroecosystems had ecological characteristics that preferred open spaces such as grasslands and forest edges or relatively diverse foods, due to the similarity of the environmental characteristics of the survey points. Through this study, we believe that continuous monitoring is necessary to determine whether climate change, which is currently underway and habitat change are affecting butterflies in agroecosystems.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.1
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• pp.110-117
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• 2012

This study was performed to determine light-adaptability under indoor lighting for Korean wild Daphniphyllum macropodum, and to provide an introduction plan for indoor spaces of landscape architecture. The experimental plants, Daphniphyllum macropodum were purchased from a farmhouse in Jejudo as anannualplant, and it was acclimatized in the glass-green house of the general farm of Gyeongnam National University of Science and Technology for40 days. The experiment was performed from February 15, 2010 to November 15, 2010. First, in the case of the fluorescent lamp, the growth and development condition was poor because the plants withered, or the leaves fell off under the 100lux to 500lux, but the condition under 1,000lux was good In the aspects of the number of leaves, form of the tree, photosynthesis rate in its body, and the value of sight, the best light intensity for the growth condition was under the 1,000lux. Second, in the case of the LED light, the growth and development condition was poor because the plants withered, or the leaves fell off under 100lux to 1,000lux, but the smooth growth and development was done under a more light intensity. The best intensity for the growth condition was under 2,000lux. Third, in the case of the three-wave light, the withering was serious by 1,000lux, and the growth and development was the worst amongst the four introduced lighting systems, therefore, growth under the three-wave light was incongruous. The best intensity for the growth condition was under 2,000lux. Fourth, in the case of the optical fiver, the withering did not existed under 100lux and growth was possible. The growth and development was the amongst in the four introduced lighting systems. Generally, in the more light intensity, more growth was observed, but the value of sight was higher under 1,000lux than under 2,000lux because the falling rate of leaves and the form of the tree was stable. The most effective light was under 1,000lux due to the high photosynthesis in its body. When Daphniphyllum macropodum is introduced into the indoor landscaping space considering the light, the optical fiber, fluorescent lamp, and LED light are suitable to introduce. The three-wave light is unfit. The most proper light intensity by the light source, in the case of the optical fiber, and fluorescent lamp, is 1,000lux, and, in the case of LED light, is 2,000lux. The wild Daphniphyllum macropodum is the species of tree to substitute the Schefflera actinophylla which is the introduced species, and it is expected to be use as the central tree in indoor spaces.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.

• Economic and Environmental Geology
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• v.35 no.3
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• pp.203-210
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• 2002

In order to elucidate the growth mechanism of sulfide chimney formed as a result of seafloor hydrothermal mineralization, we carried out the mineralogical and fluid inclusion studies on the inactive, sulfide- and silica-rich chimney which has been recovered from a hydrothermal field in the Cleft segment of the Juan de Fuca Ridge. According to previous studies, many active and inactive vents are present in the Cleft segment. The sulfide- and silica-rich chimney is composed of amorphous silica, pyrite, sphalerite and wurtzite with minor amounts of chalcopyrite and marcasite. The interior part of the chimney is highly porous and represents a flow channel. Open spaces within chimneys are typically coated with colloform layers of amorphous silica. The FeS content of Zn-sulfides varies widely from 13.9 to 34.3 mole% with Fe-rich core and Fe-poor rims. This variation possibly reflects the change of physicochemical characteristics of hydrothermal fluids. Chemical and mineralogical compositions of the each growth zone are also varied, possibly due to a thermal gradient. Based on the microthermometric measurements of liquid-rich, two-phase inclusions in amorphous silica that was precipitated in the late stage of mineralization, minimum trapping temperatures are estimated to be about 1140 to 145$^{\circ}$C with the salinities between 3.2 and 4.8 wt.% NaCI equiv. Although the actual fluid temperatures of the vent are not available, this study suggests that the lowtemperature conditions were predominant during the mineralization in the hydrothermal field at Cleft segment. Comparing with the previously reported chimney types, the morphology, colloform texture, bulk chemistry, and a characteristic mineral assemblage (pyrite + marcasite + wurtzite + amorphous silica) of this chimney indicate that the chimney have been formed from a relatively low-temperature (<250$^{\circ}$C) hydrothermal fluid that was changed by sluggish fluid flow and conductive cooling.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.