• Korean Institute of Interior Design Journal
• /
• v.17 no.3
• /
• pp.3-14
• /
• 2008

The purpose of this study is to clarify the historical circumstances under which the Korean Pavilion was established at the 1900 Paris Exposition Universelle, and the construction process and design features of the pavilion building. At that time, even though Korea faced difficulty due to lack of experience in the world exposition and funds, Korea attempted to positively participate in the international cultural event by establishing the Korean Pavilion under an official contract with assistance of the French Government. Moreover, the Pavilion shows significant architectural features which had not been shown until then in terms of the structure and design of the pavilion building. In this connection, in this thesis, among others, the historical circumstances under which the "Korean Pavilion" was established at the 1900 Paris Exposition Universelle, and the construction process as well as the process and features of the draft design prepared at an early stage by Baron Delort de Gleon on the part of France among the above parties to the project for construction of the Korean Pavilion, which have never been addressed in the field of architecture or interior due to lack of existing data, will be clearly studied based on relevant literatures. According to analysis of the study, it reveals that the representation method for the Korean tradition of Korean Pavilion designed by Baron Delort de Gleon was based on the Chinoiserie, the style widely seen in Europe. In addition, Delort de Glean's commerce-oriented concept is integrated into the design of the Korean Pavilion as well.

• Journal of the Korea institute for structural maintenance and inspection
• /
• v.23 no.4
• /
• pp.8-14
• /
• 2019

In Korean traditional wooden architecture, joint performance varies with the material characteristics of timber, the form of joint, the precision of timber-trimming and the like. Case studies prove that the beam-to-column joint type has large influence on the degrees of deformation and spacing. This is not only true of single-story buildings, but also of large-scale multi-story buildings more apparently. Therefore, this study followed the process of examining to joint types, producing their specimens and testing their structural performance. As a consequence of structural test, the dovetail joint specimen showed the best outcomes of the maximum load and rigidity. Synthesizing the structural performances by respective forms of joints, the Doraegeoji dovetail joint specimen showed the higher performance, followed in order by the Doraegeoji mortise joint specimen and the Tongneoko dovetail joint specimen. The structural performance of a building varies with the characteristics by the shouldering forms of penetrating beams and with the joint types within the columns. This should be considered for the new construction or restoration of multi-story buildings, and be continuously researched henceforth.

• Fashion & Textile Research Journal
• /
• v.23 no.6
• /
• pp.758-769
• /
• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Journal of the Korea Institute of Building Construction
• /
• v.22 no.2
• /
• pp.219-228
• /
• 2022

In this study, to improve educational motivation and learning outcomes, a mobile app using game elements was developed, and the effect of its application in rebar work education was analyzed. Using the 4F(Figure out-Focus-Fun design-Finalize) process, which is a game development model, a mobile learning app for rebar work was developed that considers the characteristics of college students familiar with smartphone use, and the app was developed in a manner that utilizes game mechanics such as learning missions and points to stimulate a learner's interest and improve educational motivation. The results show that the proposed app for rebar work is positively evaluated in terms of interface style, perceived usefulness, perceived ease of use, perceived enjoyment, attitude toward using, and intention to use. Therefore, it can be concluded that using the learning game app for rebar work in classes can contribute to improving a learner's performance in various aspects.

• Smart Structures and Systems
• /
• v.31 no.4
• /
• pp.335-349
• /
• 2023

Bridges constantly undergo deterioration and damage, the most common ones being concrete damage and exposed rebar. Periodic inspection of bridges to identify damages can aid in their quick remediation. Likewise, identifying components can provide context for damage assessment and help gauge a bridge's state of interaction with its surroundings. Current inspection techniques rely on manual site visits, which can be time-consuming and costly. More recently, robotic inspection assisted by autonomous data analytics based on Computer Vision (CV) and Artificial Intelligence (AI) has been viewed as a suitable alternative to manual inspection because of its efficiency and accuracy. To aid research in this avenue, this study performs a comparative assessment of different architectures, loss functions, and ensembling strategies for the autonomous segmentation of bridge components and damages. The experiments lead to several interesting discoveries. Nested Reg-UNet architecture is found to outperform five other state-of-the-art architectures in both damage and component segmentation tasks. The architecture is built by combining a Nested UNet style dense configuration with a pretrained RegNet encoder. In terms of the mean Intersection over Union (mIoU) metric, the Nested Reg-UNet architecture provides an improvement of 2.86% on the damage segmentation task and 1.66% on the component segmentation task compared to the state-of-the-art UNet architecture. Furthermore, it is demonstrated that incorporating the Lovasz-Softmax loss function to counter class imbalance can boost performance by 3.44% in the component segmentation task over the most employed alternative, weighted Cross Entropy (wCE). Finally, weighted softmax ensembling is found to be quite effective when used synchronously with the Nested Reg-UNet architecture by providing mIoU improvement of 0.74% in the component segmentation task and 1.14% in the damage segmentation task over a single-architecture baseline. Overall, the best mIoU of 92.50% for the component segmentation task and 84.19% for the damage segmentation task validate the feasibility of these techniques for autonomous bridge component and damage segmentation using RGB images.

• KSCE Journal of Civil and Environmental Engineering Research
• /
• v.29 no.3A
• /
• pp.217-225
• /
• 2009

Bridge design is a problem-solving process whose level of design quality strongly depends on how to relate design constraints with feasibile design objectives in conceptual design stage. This paper has focused on how to create bridge shapes using creativity toward better looking bridge appearances in conceptual design stage. The term creativity in this study does not refer to the creation of something from nothing but to the reorganization of existing concepts. Such creativity includes not only enlarging the number of structural forms which is established based on the relationship between form and statics but also combining bridge design with artistic components like an architectural style. Also, this study has investigated the usefulness of graphic statics as a structural analysis tool showing the analysis results visually to generate bridge forms in conceptual design stage. It is expected that the proposed way of generating bridge forms in this study to be used not only for practical purpose but also for educational purpose regarding the aesthetic bridge design serving as a new education paradigm.

• SUVANNABHUMI
• /
• v.6 no.1
• /
• pp.27-65
• /
• 2014

Flourishing in the Central Dry Zone of Burma during a period from the mid-eleventh to the late-thirteenth century A.D., the historical kingdom of Pagan was one of the major Buddhist centers in Southeast Asia. The significance of Pagan as an important pilgrimage site of the region, where numerous relics of the Buddha were enshrined, had been maintained until long after the fall of its civilization. It is evident that the artistic influences of Pagan, particularly in the architectural and decorative domains, had been transmitted to various other Buddhist civilizations in the area. This study provides a detailed analysis on the relationships between the mural tradition of Pagan and those of its neighboring civilizations in Thailand-of the Ayutthayā, Lānnā and Sukhothai schools-dating from after the Pagan Period in the fourteenth century to the sixteenth century. Surprisingly, as the analysis of this study has suggested, such relationships seemed to be trivial, more on a minor stylistic basis than on substantial ideological and iconographic grounds. They suggest that transmission of the complex idea and superb craftsmanship of the mural tradition would not have been maintained adequately at Pagan after its civilization, probably due to the lack of royal patronage. It would have been extremely difficult for foreign pilgrims who visited Pagan after its dynastic period to appreciate the surviving murals of this lost tradition in terms of their complex programs and associated symbolism. Also, there had been a new center of the Sinhalese Buddhism firmly established in the Martaban area of lower Burma since the mid-fourteenth century that outcompeted Pagan in terms of supplying the new Buddhist ideas and tradition. Its fame spread wide and far among the Buddhist communities of Southeast Asia. Later, these Buddhist communities also established direct contact with Sri Lanka. The Sukhothai murals and the Ayutthayā murals in the crypt of Wat Rātchaburana, dating from the fourteenth/fifteenth century, show obvious Sri Lankan influence in terms of artistic style and Buddhist iconography. They could be a product of these new religious movements, truly active in Southeast Asia during that time.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.3
• /
• pp.128-136
• /
• 2018

This study was centered on the protested data of the issue of "History of Landscape Architecture" in the handwritten course of landscaping articles of National Qualifications Test. The purpose of this study is to examine the types of social problems in the process of correcting erroneous historical facts. The purpose of this study was to find alternatives for the development of the field of landscape and culture history that can assist in the verification of the historical facts of the landscape sciences examination questions. The main results are as follows. First, as a result of analyzing the contents of the landscape architects' subject matter, the establishment of concept of landscape style and form and the confirmation of historical facts were investigated as important types to be established for development of landscape landscape history department. It seems that the social consensus of the expert group is needed to supplement the lack of data to refer to landscape architectural theory. Second, the analysis of the problematic narrative contents resulted in a total of five types of questionnaires. The appeared in the Undefined style and form(52.94%), Unproven historical facts(25.13%), Obscurity Era classification(11.77%), Lack of specificity(6.95%), Content scope of obscurity events(3.21%) Third, it is not only the lack of information to learn the theory by comparing and analyzing the contents of the statements in the landscape architect 's question items, but also the difference of contents between books was analyzed as the main cause of the problem. As a result of examining the characteristics and examples of the issues raised in landscape architectural problems, it was related to the social phenomenon, and it was classified into cultural factors and political factors. Fourth, the resolution of problematic issues in landscape architects' landscaping articles, which are national technical qualification tests, shows positive results. The information determined in the process of solving the perceived content can be used directly in landscaping field, and it helps the accuracy of the verification process by identifying the types and characteristics of the issues.

• Korean Journal of Heritage: History & Science
• /
• v.48 no.3
• /
• pp.60-79
• /
• 2015

The study examined reconstruction and building plan of Buyeo Muryangsa Temple in the 17th century and reviewed its construction process and supporting power since the Imjin War of 1592. In addition, The architectural features and design plan of Geukrakjeon that is the most important position in the reconstruction were examined. The reconstruction process of Muryangsa Temple is as follows. Firstly, the study reviewed the reconstruction order of Muryangsa Temple that was progressed in a short period of time from 1624 to 1636. In doing so, the reconstruction period was adjusted from 1633 to 1624 so that the construction order of Muryangsa Temple might be the reconstruction of Geukrakjeon in 1624, Gwaebul in 1627, Sojosamjonbul in 1636 and Beomjong in 1636. Secondly, as the reconstruction of Muryangsa Temple was progressed in a short period of time of 13 years, it was assumed there was great supporting power. In particular, it was found that Jinmukdaesa who lead the construction of Wanju Songgwangsa Temple had an impact on the construction of Muryangsa Temple.It was conjectured that Shin family of the royal family as the supporting power of Songgwangsa through the support of Jinmukdaesa had an impact on Muryangsa Temple. Thirdly, the study reviewed architectural features of Geukrakjeon which has the most important meaning of the reconstruction of Muryangsa Temple. By comparing other reconstructed temples, the architectural style of Muryangsa Temple was examined. In particular, features of Gongpo and furniture were reviewed. In doing so, Muryangsa Temple, the study proposed a possibility that Geukrakjeon would be constructed by an artisan in the same genealogy of Wanju Hwasamsa Temple Geukrakjeon. Finally, the design plan of the building was reviewed with Yongcheok of 309mm used for the construction of Geukrakjeon. Geukrakjeon had perfect proportion compared with other reconstructed temple in the late Joseon period, and golden ratio of 1:1.41 was applied in many areas of building. the study also proposed that the stable design of Geukrakjeon was carried out by the building plan of overall Garam at the time of reconstruction of Muryangsa Temple in the late Joseon period.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
• /
• 2005.10a
• /
• pp.195-216
• /
• 2005

This study concerns especially Choryang-Weagwan which was the largest Japanese House left in Pusan through Chosun Dynasty.Choryang-Waegwan was known to have been jointly constructed by Korean and Japanese carpenters. Therefore, Weagwan was a place for exchange of architectural tradition (special features such as sliding door and straw mat) between Korean and Japan. Judging from this point of view, It is certain that mutual influences helped to shape architecture of Choryang-Weagwan. After establishment Choryang-Weagwan was gradually extended, owing to the prosperity of trade with Japan. But since late 18th century government of Chosun did not give as much care to maintaining Choryang-Weagwan as a result of deteriorating condition of commercial and diplomatic relations with Japan. From the beginning of Choryang-Weagwan construction, Superintendents of the construction were called Hun-do and Byl-cha, who acted as official interpreters as well. And, during construction works, they were called Gamdong-gwan. At the start of construction, Weagwan was built partly in Japanese-style by the carpenters from Tokugawa Shogunate. But as time passed, the participation rate of Japanese carpenters diminished gradually. After 1831, Japanese technician vanished extremely and repairing construction was continued by the Korean