• 한국실내디자인학회논문집
• /
• 제17권4호
• /
• pp.11-22
• /
• 2008

This study aims at clarifying the circumstances under which the Korean Pavilion was constructed at the 1900 Paris Universal Exposition, and major architectural features of the pavilion building, In particular, this thesis studies the construction history of the Korean Pavilion newly developed by Comte de Mimerel on the part of France following the sudden death of Baron Delort de Gleon during the construction of the Korean Pavilion, as well as architectural features of the draft design. The Korean Pavilion designed by Comte de Mimerel completely reproduces Keunjeongjeon of Gyeongbok Palace, faithfully complying with the then design tendency of the exposition. Mr. Young Chan Min, the Vice Chairman of the Seoul Organization Committee, positively participated in the construction process, and traditional carpenters in Chosun, together with Mr. Young Chan Min, were dispatched to Paris to engage in the construction of the pavilion building. This is substantially in contrast to the earlier design. According to the analysis in this study, although the Korean Pavilion designed by Comte de Mimerel was primarily built with the fund of the French Government and under the French architectural system, as a result of the Korean Government's positive participation in the construction process, it was decided to use Geunjeongjeon, the symbol of Chosun, as a model of the pavilion, and therefore, the Korean Pavilion was recognized by the Europeans as a monument of complex and sophisticated civilization. Furthermore, commercial and colonialistic expressions, which were found in the earlier plan, are rarely found in the Korean Pavilion designed by Comte de Mimerel, and we can see that this is the result of the attempt to fully reproduce Geunjeongjeon, the major building of the Chosun royal court, in building the Korean Pavilion.

• 한국실내디자인학회논문집
• /
• 제17권3호
• /
• 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.

• 한국산학기술학회논문지
• /
• 제15권2호
• /
• pp.646-652
• /
• 2014

본 논문의 목적은 AZ31 마그네슘합금의 균열성장거동의 경향을 묘사할 수 있는 실험적 피로균열전파모델을 시편두께 조건에서 평가하여 적합한 모델을 제시하는 것이다. 평가에 사용된 실험적 모델은 Paris-Erdogan 모델, Walker 모델, Forman 모델, 수정된 Forman 모델이며, 각 모델의 파라미터를 통계적으로 추정하기 위하여 최우추정법을 사용하였다. 두께조건이 피로균열전파거동 예측에 미치는 영향을 고려하면서 적합한 모델을 평가하기 위해 시편두께의 3가지 조건을 변화시키면서 피로균열전파실험을 수행하여 통계적 균열성장 데이터를 획득하였다. 시편두께 조건에 따라 마그네슘합금의 균열성장거동의 경향을 잘 묘사하는 모델은 Paris-Erdogan 모델과 Walker 모델이며, 모델의 파라미터 중 피로균열성장속도지수는 시편두께가 4.75mm와 6.60mm 조건에서 재료상수가 될 수 있음을 밝혀내었다. 그러나 시편두께가 두꺼운 경우에는 양상에 차이를 보이므로 모델 선정 시 신중한 판단이 요구된다.

• 비교문화연구
• /
• 제33권
• /
• pp.95-120
• /
• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• 비교문화연구
• /
• 제37권
• /
• pp.51-79
• /
• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• 한국콘텐츠학회논문지
• /
• 제19권6호
• /
• pp.504-512
• /
• 2019

본 연구는 국내외 도시 지역 영어간판의 언어적 오류를 살펴보고, 이를 비교해 봄으로써 공동체의 언어 사회 문화적 양상을 고찰해 보는 것을 목적으로 한다. 자료 수집으로 국내 5개 도시와 프랑스 파리 지역의 영어 간판을 촬영하였다. 분석 결과, 국내 영어간판의 39.2%가 오류를 포함한 반면 파리 시내 영어간판의 오류 비율은 24.7%였다. 국내에서는 명동 지역이 영어간판은 물론 오류도 가장 많은 반면, 파리에서는 에펠탑을 중심으로 한 7구역에서 영어간판이 가장 많았고, 오류는 마레지역 3, 4구역이 가장 높았다. 업종과 관련, 국내에서는 주류, 음식, 의류 순으로 간판 오류가 많은 반면, 프랑스에서는 의류, 음식, 문화 순으로 오류 비율이 높아 두 나라간 차이를 보였다. 국내와 프랑스 공히 의미, 형태, 통사 요소의 순으로 오류를 보였다. 국내나 프랑스 모두 옥외광고물 언어에 관한 규정이 존재하고 있으나 제대로 지켜지고 않고 있었다. 따라서 영어간판 사용이 필요 불가결한 글로벌 시대에서 조화로운 영어간판 문화의 정착을 위해선 보다 실제적이고 합리적인 정책 수립이 필요하다.

• 대한건축학회논문집:계획계
• /
• 제34권5호
• /
• pp.97-108
• /
• 2018

"Death is the side of life which is turned away from us." The life of people in Seoul, however, is disconnected from death. Why? This article compares the historical changes in the cemetery disposition of Paris and Seoul to answer this question. The cemetery is always a meeting place between the living and the dead. In pre-modern cities, the cemetery was close to the people's daily life. However, the fundamental change of urban structure due to modernization has a great influence on the cemetery. With the advent of the train, the world has shrunk and the city has expanded unprecedentedly. In such a situation, the cemetery is expelled to the outside of the city. However, while Paris and Seoul share the same overall flow, they responded differently to the plans for the establishment of large-scale remote cemeteries. In Paris, the plan was canceled by citizens who value their relationship with the dead. On the other hand, Seoul was unable to manage the cemetery due to social confusion in 20th century. All cemeteries were expelled as industrialization began. As a result, there is no public cemetery or ossuary at present in Seoul. In Seoul, about 20 years ago however, a new kind of place for the dead began to appear. It is an ossuary attached to religious facilities. In other words, the current cemetery of Seoul is divided into two forms : the public cemetery, which is expelled from the city, and the private ossuary, which is attached to religious facilities built in the city.

• Computers and Concrete
• /
• 제31권5호
• /
• pp.395-403
• /
• 2023

The paper investigates the effect of two parameters - sand content (SC) and grain migration during shearing - on the mechanical properties of gravel-sand mixtures. Consolidated undrained (CU) triaxial tests were carried out on eight series of mixtures containing gravel (1<d<16 mm) and sand (0.1<d<1 mm). The prepared mixtures have sand contents of 0, 10, 15, 20, 40, 54, 94 and 100%, and a relative density of 60%. The transition sand content (TSC) is experimentally defined and marks the transition from gravel-driven to sand-driven behavior. For SC<TSC, the dry density of the mixture increases with SC. This induces an increase in undrained peak strength and dilative trend. The slope and position of the critical state line (CSL) are also deeply dependent on SC. At SC=TSC, the mixtures exhibit the largest dry density and yield the highest undrained peak strength and the largest dilative trend. During shearing, large internal migration of grains was observed at the TSC, causing heterogeneity in the sample. Analysis of the CSL deduced from the final points of the triaxial tests shows that, at the TSC, failure appears to correspond to the behavior of the coarsest fraction of the soil. This fraction is located in the upper part of the sample, where the sand particles had been eliminated by suffusion. On the other hand, in the more stable materials, the CSL is consistent with the bulk grain size distribution of the soil.

• Restorative Dentistry and Endodontics
• /
• 제46권1호
• /
• pp.3.1-3.14
• /
• 2021

Objectives: This study aimed to evaluate the interface between a calcium silicate cement (CSC), Biodentine and dental adhesives in terms of sealing ability. Materials and Methods: Microleakage test: 160 standardized class II cavities were prepared on 80 extracted human molars. The cavities were filled with Biodentine and then divided into 2 experimental groups according to the time of restoration: composite resin obturation 15 minutes after Biodentine handling (D0); restoration after 7 days (D7). Each group was then divided into 8 subgroups (n = 5) according to the adhesive system used: etch-and-rinse adhesive (Prime & Bond); self-etch adhesive 2 steps (Optibond XTR and Clearfil SE Bond); self-etch adhesive 1 step (Xeno III, G-aenial Bond, and Clearfil Tri-S Bond); and universal used as etch-and-rinse or self-etch (ScotchBond Universal ER or SE). After thermocycling, the teeth were immersed in a silver nitrate solution, stained, longitudinally sectioned, and the Biodentine/adhesive percolation was quantified. Scanning electron microscopic observations: Biodentine/adhesive interfaces were observed. Results: A tendency towards less microleakage was observed when Biodentine was etched (2.47%) and when restorations were done without delay (D0: 4.31%, D7: 6.78%), but this was not significant. The adhesives containing 10-methacryloyloxydecyl dihydrogen phosphate monomer showed the most stable results at both times studied. All Biodentine/adhesive interfaces were homogeneous and regular. Conclusions: The good sealing of the CSC/adhesive interface is not a function of the system adhesive family used or the cement maturation before restoration. Biodentine can be used as a dentine substitute.

• 한국의류학회지
• /
• 제48권1호
• /
• pp.1-19
• /
• 2024

The purpose of this study is to examine the color characteristics of menswear in different cities, focusing on the Paris, Milan, New York, Tokyo, and London collections. To answer the research question, the sampled colors were classified according to their hues and tones for frequency analysis and cross-analysis. The results are as follows: 'Red', which appeared frequently in the S/S and F/W seasons, was a core color in menswear design, and regardless of the season, 'blackish tones' were most commonly used. The cross-analysis uncovered a significant difference in the trends of hues in the F/W season between the cities. The colors that were more frequently used among the cities were as follows: 'blue-green' in the Paris collection, 'blue' and 'purple' in the Milan collection, 'purple' and 'purple-blue' in the London collection, 'yellow' in the New York collection, and 'red' and 'green' in the Tokyo collection. This study illustrates the significance of the F/W season's use of colors in menswear design and discovered through analysis that hues, rather than tones, were used to express individuality. These results are expected to be used as basic data for the analysis of menswear design trends.