• Journal of The Korean Society of Integrative Medicine
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• v.9 no.1
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• pp.163-171
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• 2021

Purpose : The purpose of this study was to examine the anti-inflammatory effects of Sparassis crispa (SC). SC is a well-known traditional herbal remedy and its mushroom is used for treatment of inflammation. Many diseases that are increasing recently have characteristics of inflammatory diseases. Researchers are finding bioactive substances from natural products that can promote treatment and prevention of inflammation. We investigated the effect of water extracted from SC on the expression of effector genes involved in the function of RAW 264.7 cells. Methods : Effects of RAW 264.7 cells on cell viability, antioxidation, and mRNA expression were examined using water extracts from SC. A 3-(4,5-dimethylthiazol-2-yl)-5-(3-carboxymethoxyphenyl)-2-(4-sulfophenyl)-2H-tetrazolium (MTS) assay was performed to determine the effect of water extracts from SC on cell viability in RAW 264.7 cells. Inflammation of RAW 264.7 cells induced by lipopolysaccharide (LPS) treatment and expression levels of inflammatory cytokine TNF-α, iNOS and IL-1β gene were analyzed using quantitative reverse transcription PCR (qRT-PCR) analysis. Results : The MTS assay was performed on RAW 264.7 cells after treatment with various concentrations of water extracts of SC. Treatment of RAW 264.7 cells with water extracts from SC and LPS at a concentration of 0.125, 0.5 mg/㎖ for twenty four hours promoted mRNA expression of TNF-α, iNOS and IL-1β. Conclusion : MTS assay was applied to RAW 264.7 cells after various concentrations of water extracts of SC. Through experimental demonstration of anti-oxidant and anti-inflammatory effects of water extracts from SC, we suggest that SC is a valuable material for the prevention and treatment of various inflammatory diseases.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.4
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• pp.400-411
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• 2012

This study analyzes the formative changes and trends of cape design in modern fashion. In this study, a total of 496 cape designs were collected through the four major fashion collections of Paris, Milan, New York, and London from 2006S/S to 2010F/W, and a literature overview on capes was performed. The results of this study show that the cases with collars and hoods attached outnumbered the non-collared designs. In addition, the cases of lengthy cape in the hip or knee line represent more portions in designs. As to the material, it indicated that generic cloth was used the most. In most cases, decorations with various details and trimmings were also used. For expression characteristics, cases only with unique texture to cloth material and formative beauty were the most remarkable without decoration. For the formative feature, the independent item style was found the most, even though it was worn together with other kinds of clothing. Integration with other types also appeared such as cape jacket, cape dress, cape one-piece, or cape coat. Cape design features in contemporary fashion and could be characterized as feministic elegancy, harmony of practical value and fashion, authoritativeness, and decorativeness from the design trend analysis.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.14-21
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• 2014

Kengo Kuma is one of the features of the building is 'natural architecture'. He is saying that the construction of the building in which he is seeking is a natural material of construction is only applied to the issue as to whether the material nature, but that the relationship between humans, the environment, natural point of view in his book. Like repeating units are part of the two hundred ninety-four came mainly small ways to create a relationship, or have architectural features make up the sum of his architecture. I present a comprehensive study is reported in terms of that the 'grain' of such a small part of the unit, according to the architecture of Kengo Kuma mainly granulation characteristics of the construction of one of the practical expression studies Kengo Kuma. Is represented as louvers, check pattern, hole, granulation unit such trend, but have become developed in other directions such simple types are combined. Analysis and particle characteristics in terms of the architectural space of Kengo Kuma, serve as the purpose of the present study reveal that each of the features that have a meaning in the construction of any Kengo Kuma.

• Journal of the Korea Furniture Society
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• v.27 no.3
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.163-171
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• 2016

The objectives of this study is to analyze the characteristics of Chinese traditionality expression at restaurants in Beijing area. 12 restaurants were selected and visited for the investigation research. The results were as follows. First, traditional reproduction was found mainly manifested through the reproduction of traditional ornaments, in particular, the facade and interior element ornaments. Second, Traditional transformation was mainly manifested in replacement material while changing the shape slightly, or to stretch or shorten prototype shape and other negative deformation methods which did not largely out of the scope of traditional reproduction. Third, Traditional reinterpretation was expressed by abstract, symbol or metaphor on designs, usually people can not directly recognize the traditional archetype. When compare with traditional reproduction or traditional transformation, traditional reinterpretation was relatively fewer, however, in this study the traditional reinterpretation and traditional transformation have same numerical result. Reinterpretation as a positive performance method of traditional modernized, it was encouraging the phenomenon, especially in the ceiling design. Chinese traditional cloud patterns have been three-dimensional and diversification of use. And in the wall design, traditional elements have been extremely simplistic or adopted a wide variety of traditional elements, it may be preferred in diversity. In addition, furniture was tinge traditional elements in modern form, lighting was added symbolize color or picture on the traditional lighting which shape was simplified to emphasize space's traditional. But the facade, sign board, floor, and window element seems the range of variation was not wild, promote more use the positive traditional reinterpretation method.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.76-90
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• 2015

Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of ${\ddot{U}}bermensch$. The ${\ddot{U}}bermensch$ image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic ${\ddot{U}}bermensch$ image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.

• Journal of Applied Biological Chemistry
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• v.54 no.4
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• pp.231-237
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• 2011

A gene encoding a putative alanine racemase in Xanthomonas. oryzae pv. oryzae was cloned, expressed and characterized. Expression of the cloned gene was performed in Escherichia coli BL21(DE3)pLys using a pET-21(a) vector harbouring $6{\times}histidine$ tag. Purification of the recombinant alanine racemase by affinity chromatography resulted in major one band by sodium dodecyl sulfate polyacryl amide gel electrophoresis analysis, showing about 45 kDa of molecular weight. The alanine racemase gene, cloned in this experiment, appears to be constitutively expressed in X. oryzae, as analyzed by reverse transcriptase polymerase chain reaction. The enzyme was the most active toward L-alanine and secondly D-alanine, showing a racemic reaction, thus the enzyme is considered as an alanine racemase. The enzyme was considerably activated by addition of pyridoxal-5-phosphate (PLP), showing that 75% increase in activity was observed at 0.3 mM, compared with control. D-Cysteine as well as L-cysteine significantly inhibited the enzyme activity. The inhibitions by cysteines were more prominent in the absence of PLP, showing 9 and 5% of control activity at 2 mM of addition, respectively. The enzyme was the most active at pH 8.0 and more stable at alkaline pHs than acidic pH condition.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.3-11
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• 2012

The first visual contact in architecture happens in surface, and it could be significant object as well as the starting point to recognize the essence and perceive the buildings. Architecture surface could not get out of the restriction of structures and materials that support buildings for a long time in the past. Architecture surface in the past should fulfill the structural role to form are appearance of buildings and support buildings at the same time, so it was difficult to get out of logic for material and thickness of walls, arrangements and sizes of windows. However, since the modern age, architecture surface came to be freer according to the development of building technology, and development of technology changes shows tendencies to express role of new design factor as an architectural element emphasized expression and autonomy,s which was escaped from the subordinate relationship that the surface of building must do the structural function. In this study, it would be examined the expressive characteristics of various epidermis that are expressed in architecture of Herzog & de Meuron since the end of 20thcentury focused on comprehended and analyzed results of changes and characteristics of contemporary society. Through this, it would be comprehended the epidermis of architecture that has particular character expressed in modern buildings of Herzog & de Meuron, and it would be composed a certain linkage between this and characteristics of contemporary society and it would be investigated that the establishing process of inner spaces. Identification through case analysis for this would perform a role of catalyst for the new possibility and development of contemporary architecture's surface expression in the future.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2006.11a
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• pp.341-345
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• 2006

zArchitect Kim lung-up used free-curved lines as his architectural language. We can categorize his language into 'overlapped curved lines' and 'juxtaposed circles.' We found that his language was expressed well when he applied a specific material, for example, overlapped curved lines - concrete and juxtaposed circles - brick. Furthermore, using the plasticity of concrete, he built roofs and columns in a curved form. He also created reliefs on the walls out of the characteristics of bricks. It can be evidence that he considered forms and characteristics of materials to design buildings. This research mainly focuses on his design method to use free-curved lines with specific materials based on the analyses of forms and materials applied in his architecture buildings and art works