• 한국실내디자인학회논문집
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• 제21권5호
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• pp.34-45
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• 2012

In these days, restaurants are not simply used as a physical space but used as a cultural space in which people can enjoy and experience different cultures and traditional images. Moreover, from the restaurants design elements which help to form the atmosphere of the restaurants which serve food of specific country, we can see the history and traditions of that country. The additional value of the traditional decorative components which are the main factors forming the atmosphere of the restaurant will be different according to the various expressions used in the restaurant space. For this article, 12 restaurants, Norangjugory korean restaurant, Yongsusan korean restaurant, Best well-bing food restaurant, Awoolim, Mugunhwa, Ondal in Korea, and Songhelou, South Beauty, Xuxian restaurant & lounge, Beijing dadong roast duck restaurant, The horizon chinese restaurant, Dynasty jade garden in China, were selected for the field study. This study focused on a comparative analysis of the traditional decorative elements, especially, the application rate of the traditional decorative elements. The analyzed elements are nature, religious beliefs, history and culture for the intangible elements and facade, courtyard, trademark, ground, wall, ceiling, door, window, furniture and adornment for the tangible elements. After that, we analyzed the rates of the use of traditional decorative elements and modern decorative elements. Through the survey result and ratio analysis, we concluded as below. In Korean restaurant, traditionality is expressed in furnitures while, in Chinese restaurant, traditionality is expressed in decorative pattern. When it comes to the intangible elements among the traditional decorative components of the Korean and Chinese restaurants, Chinese and Korean restaurants have similarities in emphasizing the natural elements. Korean restaurants focus much on the environmentally friendly parts, while Chinese restaurants focus much on the fantastic natural atmospheres like those shown and expressed in the poems. As for religion characteristics, Chinese restaurants emphasize "geomancy" more than Korean restaurant. When it comes to the visible elements among the traditional decorative components of the Korean and Chinese restaurants, in Korean restaurants, the interior part has more traditionality than exterior part, while in Chinese restaurants, the exterior part has more traditionality than the interior part.

• 대한가정학회지
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• 제37권10호
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• pp.81-90
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• 1999

This study investigated the present traditional Korean farmhouse based on a survey of 30 households from Oiam-Ri folk Village in Chung-Nam Province. This study was primarily concerned with the present housing; the size and plan of the house, lighting and heating, the finishing materials of anbang(the master's bedroom or ondol) and the kinds of fumiture. I was also interested in identifying the socio-demographic and physical variables that influenced the housing, both the ordinary farm households and the descendent of nobility households. Bibliographical studies, cultural approaches, field surveys with tape recordings, and questionnaires were used to collect the data. The results showed that the types of house plans were mixed from the southern region(one-line type) and middle region(courtyard type). The heating system and the fuel for the ondol anbang has changed entirely from wood burning system to oil boiler system. The finishing material of the anbang floor changed from traditional oil paper and straw mats to vinyl flooring. Traditional fumiture and small decor items are disappearing and are being replaced by modem items, but the descendents of the nobility household kept many traditional type of fumiture and small decor items.

• 한국의류학회지
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• 제37권5호
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.

• 한국실내디자인학회논문집
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• 제24권4호
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• pp.61-69
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• 2015

The purpose of study is not only analyzes the space images expressed with mass-produced furniture of the time and economy throughout the cover pages of IKEA published catalogs since 1951 to 2015 but also is set to deduct the characteristics of spatial expression regarding the usage of digital media applied catalogs which is to be published along with the 2015 catalog. Thus, throughout research of basic literature such as domestic and foreign academic material, books, and websites, the theoretical consideration of the meaning of IKEA's pursuit of selling manufactured furnitures is foregone. Based on the above, Analyze and organize periodically applied interior space in accordance with context characteristic by understanding the attribute of catalogue from expansion of media space applied new digital media. The importance of research on IKEA is not only the quality of products designed by them, but emotional aspect that deeply penetrate customer's actual daily life. Implication of digital media message to advertisement is a important role in society that shares digitalized information. IKEA's innovative attempt of connection to new world using traditional method of marketing expression and smart device may help people better understand space.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.178-187
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• 2005

The Danish furniture designer, Verner Panton's work is comprised of the appreciation and application of the traditional for the application of a wide range of high-tech material accompanied by the bold and primary color used his work, the purpose of this study is to draw the expressive characteristics apparent in his work by analyzing the origin, background and case study of his design. The origin including the background of Verner Panton's design is based on the identity of the Danish Modernism and International design trend, which is revolved around the pop culture and is under the direct influence of Martin Johansen and Poul Henningsen. In order to understand the expressive characteristics found in the Verner Panton's chair design, a case study was conducted from 1955 where his debut piece of work, Cone chair was premiered at the Fredericia furniture Fair up through 1970 where Visiona 2 project was presented at the Koln International furniture fair. As a result, the total of 41 chair designs was analyzed by the following four criteria: form, finishing, functionality, and structure. According to the result of the analysis, the design by Verner Panton was based on the experiment of the organic form, his tendency to the pop culture, the concept of space, mobility, simplicity, and sensible creativity of space. Once criticized for being extemporary and consumptive, nevertheless, the outcome of Verner Panton's chairs not only introduced the fresh new and positive ideas that have been mass-producing for over 40 yews but also they keep on getting upgraded in accordance with the development of material.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.125-132
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• 2014

The purpose of this study was to investigate that to see how their traditional characteristics were reflected and expressed in Hanoi vietnamese contemporary public restaurants. For this, We visited Hanoi twice to have onsite research in August 2012 and 2013. According to the results of surveying Vietnamese public restaurants, all of the 12 cases had humane characteristics reflecting Vietnam traditional culture, showing Vietnamese unique traditional characteristics including intangible elements such as natural environment, life culture elements such as food culture, and formative aesthetic elements using indigenous ornaments. Different from luxury restaurants that had trade names on the theme of historical stories related to people or places and expressed various concepts formatively using photographs of Vietnamese politics and history and ornamental elements such as tableware, however, the public restaurants were simple in theme or concept. It is probably because most of the surveyed cases were situated in the old quarter to the north of the Hoan Kiem Lake and in the area to the west of the lake and their target customers were local people, so they reflected the Vietnamese traditional residence style and common people's life rather than designing the restaurants intentionally with specific concepts. As to the spatial expression characteristics of the surveyed cases, casual restaurants in Hanoi expressed only basic structure using basic construction materials and techniques with outdoor spaces in the form of Vietnam traditional tube house, and therefore, the overall atmosphere was contemporary. In indoor spaces as well, the general level was low, using uncharacteristic common design and color and cheap finishing materials and furniture. 83% of all cases showed the pattern of VM-VM-VT, being mainly contemporary by partially adopting Vietnamese unique ornamental elements for their outdoor and indoor spaces and using traditional elements supplementarily.

• 한국가구학회지
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• 제21권1호
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• pp.26-39
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• 2010

This is a leading study to replace the structural analysis methodology on the specific traditional joint by a numerical analysis. Tests were carried out to test the compressive methodologies with the numerical results. The Japanese larch was used as a sample. The Orthotropic property of wood was specifically considered for the finite element numerical analysis. Linear numerical analysis and non-linear numerical analysis for the BEAM element and the two SOLID elements of ANSYS were used to analyze the compressive performance. In addition, more finely divided elements were used to raise the accuracy of the numerical result. Finally, the statistically significant differences were tested between that of the analytical and numerical results. It could be concluded that the SOLID 64 element shows the most optimum result when the non-linear analysis with the more finely divided element was used. However, finely dividing of the element is a considerable time consuming process, and it is quite difficult to raise the accuracy of the non-linear numerical analysis. Therefore, if considering the vertical displacement to be of the only interest, the BEAM element is more efficient than the SOLID element because the BEAM element is reflected as a simple line, which is less time consuming and difficult in dividing the elements. But, the BEAM element cannot accurately model the knot as a strength defect factor which is an important property in the orthotropic property of wood. Therefore, the SOLID element should be used to model the strength defect factor, knot, as it can be efficiently applied on the structural size flexure member which could be more strongly effected by the knot. In addition, it is useful at times when the failure types of members are to be more closely investigated, as the SOLID element is able to examine the local stress distribution of the member. The conclusion drawn by this study is of the good concordance between analytical results and numerical results of compressive wood members, but how orthotropic properties should only be considered. The numerical analysis on the specific Korean traditional joints will be based on the current study results.

• 한국가구학회지
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• 제24권4호
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• pp.444-451
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• 2013

In this paper, experimental results were presented on the moment resistance of a concealed timber post base joint aimed at replacing in a modern design introduced lately the wood to wood joints used in the traditional Korean timber house - Hanok. Preliminary results showed that the original configuration of the joint offers a limited moment resistance and a low ductility and energy dissipation. In an attempt to mitigate those limitations without undergoing major changes in the connector, three new configurations were proposed and investigated. Motivated by the wish to prevent the early failure in welds, a first approach consists in directly bolting the connector's upper plate to lower the stress on the weak welds. Alternatively, another approach focused on increasing the strength of these welds by extending their length to the full width of the metal wings. Finally, a third configuration investigated the effect of those two approaches combined. In conclusion, reinforcing the welds found out to be the best option among the presented ones. As a result, this connector considered to show proper ability for use in earthquake-resistant structures with suited lateral-resistant structural elements.

• 한국가구학회지
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• 제27권3호
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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.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.51-61
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• 2015

The purposes of this study were to examine the characteristics of elements composing the cultural identity of Chinese architectural and spatial design, and to analyze the expression characteristics and influencing factors of contemporary restaurant design. With these purposes, first, this study reviewed related literature in order to find the characteristics of tangible elements observed in intangible elements and space expression characteristics forming the cultural identity of China. Second, this study conducted a case study in order to understand the expression characteristics of the design of Chinese restaurants in Shanghai and to find factors influencing the design. In order to sample the subjects of the case study, the researcher selected 18 restaurants that were recommended repeatedly in books on Chinese restaurants and tourism and major Internet sites or highly evaluated by visitors, and then choose 15 of them that were found to be fit for the purpose of the survey. According to the result of the survey, the restaurants were largely grouped by type into 10 cases of fine dining, 3 of middle-class casual dining, 1 of fast food, and 1 of luxury tea house serving traditional tea and snacks. Of these restaurants, 46.7% (7 cases) were of CM-CM-CM type, namely, using contemporary simple elements in all of external spaces, indoor spaces, and decorations, 20% (3 cases) were of CM-CM-CT type, using contemporary and simple external and indoor spaces, and traditional furniture or articles, 20% (3 cases) were of CT-CM-CT type, using traditional external spaces such as traditional buildings, contemporary simple finishing of indoor spaces, and traditional articles such as palace lanterns and traditional doors and windows, and 13.3% (2 cases) were of CT-CT-CT type, using traditional elements in their original forms in general. Through this research and survey, cultural identity showing Chinese traditions observed in the expression characteristics of restaurant spatial designs was confirmed, and it was also found that the identity was underlain by ideologies, values, lifestyles, etc. that had long accumulated through the long history of the country and exerted a great influence.