• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.15-22
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• 2019

According to Kenneth Frampton, the modern architecture starts to be recognized as the poetics of construction and lays a great weight in its value on the technology of making forms and the inherent meaning in the tectonics. The tectonic connotes not only the technological construction of the architecture but also ontological details as the joint of material and texture. The works of Carlo Scarpa are examples to prove the way how the ontological meanings are exposed in the tectonic form of architecture. The purpose of this study was to analyze the connections between Carlo Scarpa's architectural thoughts and visual logic(schemata) from the characteristic of details in his work during the 1950s to 1970s. Through the analysis, the Italian tradition in the architecture is reinterpreted through isolation and break of recollected montages. Carlo Scarpa makes spatial fragments and aspects of reinterpreting in surroundings and situation with the architectural place in Venezia. As a result, the unique details of his craftsmanship provide lessons on how to reinterpret the traditional architecture. In conclusion, Carlo Scarpa's architecture emphasizes the passage of its perceptive experience aspects as a dis-joint of tectonic forms. It may imply the significance of his philosophical approach, especially to the ontological architecture and tectonics.

• Journal of Koreanology Reviews
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• v.1 no.1
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• pp.1-23
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• 2022

HunMinJeongEum, meaning "the right sound to teach the people," was created in 1443 CE by King Sejong the Great, the fourth king of the Joseon Dynasty. In today's modern language, this letter, called Hangeul, is internationally recognized for its linguistic science. However, it is hard to find a comprehensive study on the fact that King Sejong himself created Hangeul, the Confucian perspective on natural disasters and democracy revealed in the process of writing, the independent efforts emphasized from a certain period, and the achievements of King Sejong, who shared the sorrow of the people and carried out national policies despite the extreme opposition of the nobility. Accordingly, I analyzed the consonants of HunMinJeongEum and looked at the essence of humanity and oriental philosophy (Yin-Yang Five Elements, Sangsu Philosophy, Hado). Surprisingly, different meanings from previous studies and interpretations were found, and King Sejong's "Da Vinci Code," which was left behind in the process of making the consonant, is reinterpreted and revealed. King Sejong's achievements were all connected as one. This is the root of democracy in the Republic of Korea today, and this is why King Sejong was selected as the most beloved and respected historical figure by the Korean people. This study will start with more people's understanding of the fundamental perception and philosophy of the world in Asia, including Korea, to reinterpret and reveal the hardships and great achievements experienced by a leader of a country in the process of creating korean alphabet, and to emphasize democracy, which is an important value for Asians and Westerners' mutual respect and co-prosperity.

• The Journal of the Society of Korean Medicine Diagnostics
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• v.25 no.1
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• pp.1-71
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• 2021

Objectives In order to reinterpret the meaning of Inch-Bar-Cubit used by pulse diagnosis, this study investigates floating pulses of lung and heart in the Inch area, middle pulse of spleen and livers in the Bar area, and deep pulse of kidney and life gate in the Cubit area. However, some suggested that the meaning of Inch-Bar-Cubit should be interpreted in the same way as floating-middle-deep. Methods In this study, the contents of Inch-Bar-Cubit assignment of pulse diagnosis proposed by Dongeuibogam and Medical Scientist were investigated along with the existing investigation of pulse diagnosis, and their interpretation was investigated. Result and conclusion The assignment of books in Pulse diagnosis can be applied by replacing them with floating-middle-deep instead of Inch-Bar-Cubit.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.272-281
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• 2011

The purpose of this study is to analyze the correlation between spatial space structure and visitors' behavior and interpret visitors' behavior concretely from the aspect of exhibition environments. So, this study intends to qualify spatial space structure with integration, connectivity and control value by utilizing space syntax, limit to tracking score among the analysis index and reinterpret with exhibition density and extend of eyesight among the exhibition environments. The results of this study are as follows; First, in case of museums, tracking score shows plus correlation with connectivity and control value among the space syntax variables and very low correlation with integration. In case of art museums, tracking score shows plus correlation with integration and wide variable is judged to more useful to analyze visitor's behavior than minor variable. Second, museums doesn't make a great effect on visitors' behavior from the aspect of extent of eyesight, but from the aspect of exhibition density, visitors relatively watched evenly without short cut at the early stage of exhibition in spite of high exhibition density. And, they conducted short cut as they went to the middle stage of exhibition on the course of watching although the numerical value of exhibition density is low. Third, in case of art museums, visitors' behavior was relatively influenced by exhibition density, not extent of eyesight. But, as they went to the high level on the course of watching, watching speed became rapid and watching length became short in the place the value of extent of eyesight was high. Its reason is judged to be easy to grasp position or space structure of the next exhibition room visually. Therefore, when the concentration of watching is necessary from the aspect of exhibition, to control exhibition density properly before the space is useful to draw visiting to exhibition space afterward.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• Journal of architectural history
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• v.18 no.6
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• pp.7-22
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• 2009

This writing is to understand some trends and its meaning of Regionalism Architecture in Jeju Island since 1950's. This thesis began with an interest in the identity crisis implicit in the simultaneous striving for modernism and the so-called regional values in Jeju Island. Regionalism is a response in architectural terms to re-establish continuity in a given place between past and present forms, and also a unique result related to particular places, cultures and climates in region. This is one way of looking at the issues of regional identity. The study began by observing the general characteristics of contemporary ideas on Regionalism in Jeju architecture. This means that tracing the history of development of Regionalism architecture in research area is not the focus of this thesis. The thesis demonstrates that Regionalism architectures in Jeju shows some trends related to the local cultural elements (or ideas) such like traditional architectural forms, natural environment, local construction-materials, etc. In summation, in the perspective of Regionalism architecture,mostofbuildingsin Jeju bring out them only as vernacular architecture as it was once produced, by the simple combination and imitation without any creative interaction of the regional culture. I stress the point in this paper that, in over the last fifty years, there have been very narrowed attempts to design the regional values in the main, and also point out that there are problems in the manner in which local architects have gone about trying to define the regional themes. So, a grate depth is required to understand the phenomenon that Jeju area is with its various nuances of traditions, art, culture, climate and light and then to reinterpret it into the modern building type with all the high sense. In addition to that, some conclusions are reached on future directions and the significance of the study.

• Journal of architectural history
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• v.24 no.6
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.91-107
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• 2002

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan' works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says' Challenging is the best word for me'. And so word, 'radical' that has difficult connotations was chosen for this study It implies two menainigs for the word. The first thing is "extreme" - something that is drastic. And 'Applied to clothes', it can probably mean "experimental". He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts. tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses. a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body's function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.dings into clothing.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.166-182
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• 2007

The purpose of this study is to reinterpret sexuality represented in fashion since the latter half of the 19th century in a contextual view, on the basis of Foucauldian idea of post-structural sexuality. As for research methodology, literary research was undertaken from the conception of sexuality to a historical review of the culture and dress. Foucault maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. In contextual approach sexual ideology codified in fashion since the latter 19C shows the following aspects: First, the traditional sexual ideology in the latter 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the dichotomized fashion of the period. Next, the former half of the $20^{th}$ C is regarded as the period of conformity rather than opposition with various alternatives appropriated to the mainstream, so the traditional sexual ideology in fashion of this period is still preserved. Finally, in post-capitalism period of the latter 20C a variety of anti-fashion visualized plural sexuality from the enormous oppositional discourses. Although it doesn't all mean deconstruction of sexuality in fashion by the anti-fashion re-appropriated without oppositional meanings, pluralization of sexuality implies dynamics of sexual discourses in the next historical period. As a result, fashion since the latter 19C has been changed as a means for expressing age and sexual desire out of gender and class. And mainstream fashion in even postmodern period keeps the modern value on the center of the hegemonic heterosexual masculinity though the increase of Androgynous Femininity in women's fashion may connote the meaning of femininity. The plural sexuality represented in fashion has a contextual flexibility, thus sexuality floats with a specific socio-cultural context and fashion represents a masquerade as an identity vehicle.