• 한국실내디자인학회논문집
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• 제12호
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• pp.67-77
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• 1997

Preservation space is a functionally$\ulcorner$core$\lrcorner$in a museum. Gernerally, it is a common view that collections are exhibited within 5% of total stored collections. So that, part of collections are cycled exhibition space centering around preservation space, and that is a important mechanism of collections circulation in a museum. It is the best way that collections should be $\ulcorner$conserve$\lrcorner$ in a stable condition, but inevitably collections are exposed as stable condition, but inevitably collections are exposed as called $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$for 'showing' and the function of $\ulcorner$preservation$\lrcorner$for 'conserve'are contrary to each other's concept, so it is principle of scheme that these concepts should be functionally connected with and planned$\ulcorner$match$\lrcorner$. In addition, various studies (for example, comparative analysis of collections, examination of collections for conserved condition or special exhibition, and classification of new item, etc.) are worked in preservation space. Therefore, preservation space should not be considered as a warehouse, should be composed not only$\ulcorner$comfortable place to rest of collections$\lrcorner$but also $\ulcorner$part of study room$\lrcorner$in a museum. So that, environment of museum should be established by plan to preservation and management. The point of plan to museum is that minimize dangerous element for collections, and then develop an essencial element of space for$\ulcorner$conservation$\lrcorner$and$\ulcorner$exhibition$\lrcorner$. The reason why with a few exceptions (buildings which have being exposed or extremely minor part of collections) most of collections have been lasting its life during over hundreds of years with adapting itself to natural features, so scheme of preservation facilities should be made up with understanding and analysis generic character of collections, and then establish proper temperature and humidity environment.

• 한국작물학회지
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• 제43권4호
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• pp.269-272
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• 1998

Characteristics of seed and plant growth of the nine local collections of the medicinal plant, Agastache rugosa were evaluated. Seed size of the collection from Garyungsan was larger than the others. Seeds of Damyang collection were the smallest in size. Seeds of the collections were mostly oval shaped. There were no differences between brown and black seed coat color groups in seed width, ratio of seed length to seed width and 1,000 seed weight. Stem lengths of Garyungsan and Bongpyung collections were 99.9 and 95.6 cm, respectively, and were longer than Damyang and Jindo collections. Garyungsan collection had long leaf shape. Leaf size was the smallest for Damyang collection, but was the largest for Bongpyung collection. Inflorescence length of Mokpo collection (15.6 cm) was longer than the average over all collections (12.3 cm). Damyang collection was the shortest (10.1 cm) in inflorescence. Top dry weight of each collection from Soonchun, Bongpyung, Mokpo, Jindo, and Gurye was greater than the average over all collections (20.38 g/plant). Jinju and Damyang collections had less top dry matter than others. There was no difference in the growth traits examined between brown and black seed coat groups. The brown seed group was greater in leaf weight than the black seed group. However, these two groups were not different in stem and inflorescence weight. Collections of A. rugosa from Bongpyung, Soonchun, and Mokpo were promising for commercial cultivation because of their great top dry weight, especially in leaf and inflorescence.

• 한국비블리아학회지
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• 제6권1호
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• pp.81-109
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• 1984

The purpose of this research is (i) to establish the principles particularly appropriate for the arrangement of archival collections is korea, and (ii) to produce a workable model of classification scheme in conformity with the established principles. The archival collections in korea are roughly devided into two groups as follows. (1) The collections of professional institutions of archives such as Korean National Archives. (2) The collections preserved by libraries, museums, and other similar institutions as a secondary collection, and these groups of collections are generally non-systematic collecting. For the arrangement of the former collections, the concept of "respect des fonds" which is universally accepted principies in archives are also applicable. But in case of the arrangement of the latter collections, the above mentioned principles are inappropriate because its collections a re built in separate pieces of documents and records without any relevance to the original function or structure of the corporation. Consequantly it is badly needed to make some devices for the arrangement of these archival collections since the archival collections of korea, in the majority of cases, belong to the latter. The author produced a tentative classification scheme, and adapted the korean traditional form (or type) of documents and records as a cardinal principle of the classification. The scheme is presented at the end of this paper.

• 패션비즈니스
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• 제18권6호
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• pp.86-99
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• 2014

The purpose of this study is to analyze women apparel's colors in the Seoul, Beijing, and Tokyo collections and examine the color characteristics of three collections through comparison with trend colors suggested by Carlin, a color forecasting group. A literature review and an empirical study were used for methodology. The literature review examined the status and characteristics of the three collections, a fashion color forecast, and F/W 2014-15 trend colors by Carlin based on previous researches and literature data on fashion color. The empirical study extracted and analyzed 2014-15 F/W women's ready-to-wear collections in Seoul, Tokyo, and Beijing and compared the result with trend colors by Carlin. First, the colors of women's apparel were analyzed in the Seoul, Beijing, and Tokyo collections. All three collections commonly used achromatic colors and the percentage of Bk, Gy, Wh, R, and B colors was high. All three collections used achromatic colors frequently for the main color and sub colors. For accent colors, while the application of achromatic colors was high in the Seoul collection, the application of chromatic colors was high in the Tokyo and Beijing collections. Second, women's apparel colors in the Seoul, Beijing, and Tokyo collections were compared with trend colors suggested by Carlin. All three collections highly reflected Bk, Wh, and R (Carlin's forecasting color of 'Splendor') and B (forecasting color of 'Boreal'). However, the reflection of metallic colors suggested as a keyword of 'Brave New World' and Pk color of 'Sensitive' and 'Boreal' were a bit low.

• 복식문화연구
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• 제20권6호
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• pp.826-837
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• 2012

Recently, hats have been used more frequently as an accessory, contributing to the general image of clothes in men's collections. This study compared and analyzed the frequency and styles of hat usage in men's brand collections according to the collections' images. Types of hats and their frequency of usage in men's clothes were analyzed among 857 collections from 74 brands between S/S 2006 and F/W 2012. This study also examined the relationship between clothes image and type of hats used. Hats were used in 622 out of 857 collections, and 24 different types of hats were used. In 67 collections, hats were used in at least 71% of clothes. The most frequently used hat was the fedora, followed in frequency by the beanie, cap, bowler, and high hat. The styles of hats in collections varied depending on seasons. In S/S season collections, fedoras were often used, while beanies were more common during the F/W season. This study analyzed styles of hats used in formal, casual, uniformed, and deformed images. Beanies and fedoras were frequently used for the formal image; fedoras, beanies, and plat caps were often used for the casual image; more than 3 types of hats were used together for the uniformed image; and design hats and hats in various styles were used for the deformed image. The results show that hats of various styles were used in collections to express the image of clothes.

• 복식문화연구
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• 제8권6호
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• 한국의상디자인학회지
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• 제9권3호
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• pp.221-230
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• 2007

This research was focused on the changes of layered techniques in Hussein Chalayan's collections. For this purpose, the layered techniques in 134 works from Chalayan's collections, 97S/S to 06S/S, which were obtained from fashion magazines and fashion internet site, were analyzed and classified into 15 groups. Layered techniques in his works apparently expressed his philosophy about deconstruction. Multilayered feeling was given through using various techniques such as one layer clothing which was showed like multi-layered clothing. Others were multi-layer clothing which felt like one layer, breaking the stereotyped line of clothing into atypical construction and using various materials or constructive lines which made the optical feeling like one layer or multi-layer clothing, and so on. These layered techniques in Chalayan's collections were differentiated into several categories, such as techniques which were revealed in every collections, techniques which were differentiated from one another collections, techniques which were continuously showed through three collections for connection with each collection, techniques which were used only for Spring/Summer season, and techniques which were uniquely showed in early collection or recent collections.

• 복식
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• 제57권3호
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• 복식
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• 제57권4호
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• 한국도서관정보학회지
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• 제41권2호
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• pp.273-295
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• 2010

독일은 제 2차 세계대전 후 연합국 주도로 독일이 점령한 국가에서 약탈한 도서를 상당 부분 반환하였다. 하지만 유대인들로부터 약탈한 도서의 반환은 제대로 이루어지지 않았다. 이는 1989년 동독의 장벽이 무너지고, 동구권이 몰락하면서 나치희생 유대인들의 보상 청구운동이 미국과 유럽에서 성공을 거둠으로써 나치 시대에 약탈당했던 유대인의 재산 반환 문제가 보다 적극성을 띠게 된 것과 맞물려 있다. 독일 도서관은 전쟁이 끝난 60년이 지났어도 아직까지 1933년과 1945년 사이에 입수한 약탈도서를 자신들의 도서로 소장하고 있다. 1998년 홀로코스트-시대의 자산에 대한 워싱턴 회의를 시작으로 독일도서관에서도 그들이 소장하고 있던 유대인 약탈도서를 찾아내어 반환해야한다는 흐름에 동조하게 되었다. 도서반환을 위해서는 먼저 약탈도서의 출처를 알아내야 한다. 독일 도서관들은 약탈도서 출처조사를 실행한 실용적인 지침서 발표, 찾아낸 약탈도서를 공개하는 데이타베이스등 다양한 방법으로 약탈도서반환을 위한 노력을 하고 있다. 그 결과 몇몇 도서관들은 약탈도서를 반환하기 시작했지만 아직 그 숫자는 미미하다.