• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.536-547
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• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• Journal of architectural history
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• v.19 no.5
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• pp.65-80
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• 2010

The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.158-167
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• 2012

This research began by considering that, although architecture and architectural culture of the last two decades seem to have rediscovered ornament and some recent studies have reconsidered the ornamental issues of contemporary buildings, there is currently some difficulty in providing a synthetic investigation of this topic, because of the complex nature of the contemporary architectural situation. Following this premise, this research provides some reference points for further studies that will aim to expand the understanding, and attempt to classify and hypothesize the future of contemporary ornamental phenomena. Based on the assumption of the historical continuity of ornamental problems, and adopting the relation - both technical and aesthetic - between ornament and structure as one of the crucial issues to link past and present problems, the study firstly defines two categories and two sub-categories concerning the relation between ornament and structure, namely: a) ornament integral with the structure and b) ornament applied to the structure; a1) ornament visually expressing the structure and a2) ornament not visually expressing the structure. The study then reviews the historical development of ornament from ancient times to the present in the light of the above mentioned categories, and finally discusses the principles of traditional and modern ornament thus analyzed in relation to contemporary ornamental trends, as identified in selected case studies. Some common points between past and contemporary experiences are revealed in order to facilitate further investigations. In particular, the analysis shows a certain trend in contemporary architecture for a strong link between ornamental treatment and the structure of the building and a current tendency among contemporary designers to keep the exterior appearance of the building project separate from the design of the rest of the construction.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.117-134
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• 2010

The multilateral attempt for present applications of art school of thought and expression is leading modern fashion as a chapter of various artistic expression. In fashion, historic art thinking which predominated the period are source of optional inspiration not simply being generated, culminated and disappear but layout principles which can reemerge as periodical needs. In other words, the past styles are the source of inspiration of new trend of the present time and will serve as the text that give birth to yet another trend. In this study, I conducted the research on the layout principles of Modernism Architecture in aspects of pure visibility and the layout characteristics. And I analyzed cases of modern fashion which were appling architectural layout principles in the view point of formal construction dimension. As the result, the layout principles of Modernism Architecture have the characteristics of diagram linearity, geometric planarity and exclusive closing. And I was applying the architectural layout principles of Modernism to fashion. The layout principles of Modernism Architecture have the tendency of lacking history types, abstract plane partition and reductionism purity in fashion. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.14-21
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• 2016

This article explores Changgyeongwon's spatial and cultural characteristics that were created there as the first modern urban park in Kyeongseong in the Japanese colonial era. First, in point of comparison regarding a colonial historical view, the study tried to understand the background of Changgyeongwon's establishment as well as three aspects of Changgyeongwon's characteristics as a modern urban park. The study found that; First, foreign envoys and high ranking members had visited Changgeongwon in the early opening period. This shows that this site was a park for foreign propaganda and modern display. Second, Changgyeongwon was altered as a place of enlightenment in the 1920s. This is related to the tendency of Changgyeongwon's increasing popularity around this period. More facilities and events particularly for women and children were offered at that time. Third, investigating the historical records, Changgyeongwon's cultural characters as a park are discussed. Changgyeongwon was an important place creating a modern park culture in Kyeongseong in the colonial era.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.15 no.6
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• pp.2086-2097
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• 2021

The current cultural assets are being restored depending on the opinions of experts (craftsmen). We intend to introduce digitalized artificial intelligence techniques, excluding the personal opinions of experts on reconstruction of such cultural properties. The first step toward restoring digitized cultural properties is separation. The restoration of cultural properties should be reorganized based on recorded documents, period historical backgrounds and regional characteristics. The cultural properties in the form of photographs or images should be collected by separating the background. In addition, when restoring cultural properties most of them depend a lot on the tendency of the restoring person workers. As a result, it often occurs when there is a problem in the accuracy and reliability of restoration of cultural properties. In this study, we propose a search method for learning stored digital cultural assets using AI technology. Pagoda was selected for restoration of Cultural Properties. Pagoda data collection was collected through the Internet and various historical records. The pagoda data was classified by period and region, and grouped into similar buildings. The collected data was learned by applying the well-known CNN algorithm for artificial intelligence learning. The pagoda search used Yolo Marker to mark the tower shape. The tower was used a total of about 100-10,000 pagoda data. In conclusion, it was confirmed that the probability of searching for a tower differs according to the number of pagoda pictures and the number of learning iterations. Finally, it was confirmed that the number of 500 towers and the epochs in training of 8000 times were good. If the test result exceeds 8,000 times, it becomes overfitting. All so, I found a phenomenon that the recognition rate drops when the enemy repeatedly learns more than 8,000 times. As a result of this study, it is believed that it will be helpful in data gathering to increase the accuracy of tower restoration.

• Journal of The Geomorphological Association of Korea
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• v.18 no.3
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• pp.93-105
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• 2011

'This study aims to make a choice of 'the new ten beauty spots in Daegu city' based on the analysis of survey of 390 persons selected randomly. The main results are as follows. First, there is no distinctive regional character in making a choice of 'the new ten beauty spots in Daegu city'. Second, 'Gong-Ryeong-jeok-Seol(公嶺積雪) and Buk-Byeok-Hyang-Rim(北壁香林)' among 'Daegusibyeong(大丘十詠)' written by geo-jeong Seo in the Chosun(朝鮮) dynasty are included into 'The new ten beauty spots in Daegu city'. Third, The most picturesque place is Mt. Palgong in Daegu city. Fourth, most people estimate a historical nature as the most important factor in making a choice of 'The new ten beauty spots in Daegu city', but it has not been found such tendency in the selected places as 'The new ten beauty spots in Daegu city'. Fifth, both male and female have chosen Mt. Biseul, Duryu tower, Mt. Palgong and Daegu stadium as 'The new ten beauty spots in Daegu city'. Sixth, natives of Daegu as well as non-natives of Daegu tend to highly prefer Duryu tower, Mt. Biseul and Mt. Palgong.

• Herbal Formula Science
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• v.32 no.3
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• pp.345-364
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• 2024

Objectives : Gyeongokgo is a representative herbal formula for longevity in Korean medicine and has been applied to prevent and treat various diseases. Gyeongokgo is recognized as a representative tonic for the Joseon royal family. However, there is yet no legitimate research on how the royal family used Gyeongokgo. The present study aims to analyze Gyeongokgo during the reign of King Sukjong and Gyeongjong with historical records. Methods : Historical records were searched through databases such as the veritable records of the Joseon Dynasty and the daily records of royal secretariat of Joseon Dynasty. Results : During the reign of King Myeongjong, the administration of Gyeongokgo started and expanded to the entire royal family, including the king, queen, and queen mother, by King Sukjong. In the early stage, Gyeongokgo was taken to treat coughing or breathing difficulties. Gradually it was recognized as agood tonic for replenishing energy and blood. Conclusions : The tendency to prefer tonic in the late Joseon Dynasty started during the reign of King Sukjong, and Gyeongokgo began to be used as a seasonal tonic in the fall and winter even though no symptoms appear.

• Water for future
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• v.28 no.5
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• pp.205-217
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• 1995

The historical data from 3, 550 event storms during 11 years in Wi-stream basin have been used to investigate the statistical parameter of the time distribution for design storms by the method of Yen-Chow, Huff, Pilgrim-Cordery and Mononobe. The dimensionless value of triangular hyetograph, $a^0$, ranges from 0.44 to 0.50 and trapezoidal hyetograph, $h^0$, value increases as the duration time is getting longer in Yen-Chow method. In the Huff, the second-quartile storms occurred most frequently and third-quartile storms occurred most infrequently. In the Pilgrim-Cordery, the shapes for shorter than 6-hour durations are advanced tendency. However, for longer than 6-hour durations show delayed tendency. In the Mononobe, every one hour rainfall occured Centered Type. The application of these methods for each duration time was tested by using the observed rainfall-runoff data of Wi-stream basin. As a result, the reappearance of hydrographs of triangular hyetograph by Yen-Chow method showed promising, and it was approved to be used for prediction of the ungaged basins.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.93-103
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• 2015

This study set out to figure out the tendencies of the staff members participating in the space design of Blade Runner and compare and analyze its set and location characteristics with its narrative based on Gilles Deleuze' Simulacrum, one of the basic theories of Post modernism, thus identifying the characteristics of postmodern space inherent in it. The findings were as follows: first, the spaces in a Late modernism tendency in Blade Runner seem to have been created by the cinematic imagination of Syd Mead and Douglas Trumbull rather than being influenced by the old Late modernism architecture. Second, the postmodern spaces of the movie were designed to depict a more realistic future by reinforcing the old ornamental elements or adding the mechanical aesthetics of Late modernism based on a prediction of future cities. Third, the characters representing Late modernism and Post modernism in the narrative of the movie embrace the tendencies of the parties objected by Model and Simulacrum in the scenes where they deny the tendencies of the spaces to which they belong, thus exhibiting a dual trend. Fourth, the dual narrative of Model and Simulacrum holds duality even in the space and architecture of the movie, which is the reason why the movie chose postmodern spaces reflecting historical contexts instead of inner spaces in the tendency of minimalism, which was in vogue when SF movies were made those days. Finally, the spaces of the movie can be categorized according to the Late modernism and Post modernism tendencies from the perspective of the 1980s and be understood to show the architecture and space of future Post modernism feasible through the layering of historicity, locality, and mechanical aesthetics from ancient Maya to a future city in Los Angeles, the background of the movie, from the perspective of 2019.