• The Journal of Korean Medical History
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• v.29 no.2
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• pp.49-59
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• 2016

Ginseng, a Korean native herb, has been a symbol of mystic cure-all which provides longevity benefits throughout Korean history. According to Chinese historical records, a major source of wild ginseng has been described as Korean peninsula, which is the most suitable ginseng production area, and the Manchu region near Mt. Baekdu and the Maritime Province. Since Tang dynasty period (618-917 CE), Chinese has also called ginseng as "Goryeo Ginseng", which is named after "Goguryeo" (37 BCE-668 CE), an ancient kingdom of Korea, from which they mainly imported the herb as the region was famous for its high quality of ginseng. To date, it refers to Korean ginseng. This study compares the medicinal properties of ginseng as stated in the ancient Korean medical books with the major Korean historical records regarding the usage of ginseng and its symbolism of longevity in everyday life. By contrasting these findings, we tried to figure out how the actual medicinal properties of ginseng and the anticipation of longevity are related. It was confirmed that the expectations about longevity were widely applied to everyday life. In addition, the study investigates the various usage of ginseng as a motive for decorative patterns and as an ingredient for daily products including snacks, health drinks, various types of food, clothing patterns, and so on. Finally, the usage of ginseng ingredients in the cosmetic products fulfilled the desire of Korean people to purchase, showing the aesthetic recognition and medicinal understandings about the herb. These findings suggest that ginseng is an important medicinal agent that not only symbolizes longevity and good health but also has a great influence on the lives of Koreans.

• Archives of Plastic Surgery
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• v.38 no.1
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• pp.127-129
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• 2011

Purpose: Nasotracheal or oral intubation procedure is widely used for facial bone fractures. However, during the operation intubated tube can interfere or obstruct the view of the operator. We authors used a modified submental intubation method in panfacial bone fracture patients for intact airway and the operation view. Methods: After intravenous induction of anaesthesia, traditional orotracheal tubation was done. A horizontal incision was made 2 cm from the midline, 2 cm medial to and parallel with the mandible in the submental region. 1 In order to approach to the floor of the oral cavity, a haemostat was pushed through the soft tissues. A chest tube front cover was applied to the intubation tube and the tube was inserted through the submental tunnel. Orotracheal tube was disconnected and pulled back through the soft tissue and secured with a suture. Results: The procedure took about 30 minutes and there were no problems during the intubation. Intraoral manipulation and occlusal checks were free without any interference. Extubation was also easily done without any complications such as lung aspiration, infection, hematoma, or fistula. Conclusion: Submental endotracheal intubation is fast, safe, easy to use and free from the concern about the tube being pull back again. Conventional submental intubations are being held without any coverage of the tip. We authors applied the modified method to the trauma patients and obtained satisfactory results. From the above advantages, modified submental intubation can be widely available not only in fractured patients, but also in aesthetic or orthognathic surgeries.

• Archives of design research
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• v.17 no.4
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• pp.401-404
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• 2004

The proposal defines a Do It Yourself system that radically changes the traditional concept of window. it is based on a D.I.Y. system that allows the users to fully customize its windows according to his needs, combining a wood frame with different elements. At the same time, it is preserving the basic function of light and ventilation and defining a new aesthetic code. Despite the restriction of size and shape, the user can choose among many different elements to increase the space efficiency he needs and to give a more enjoyable perspective to the window both in and out door. Also, All the elements are standard and they can be mass-produced according to specific market needs. Therefore, the window of the future will not be just a thin membrane in between the inside and the outside, but it will also play an important "identification role. According to each individual pick, these new windows will help to give identify to anonymous metropolitan areas and to the people living within them.

• Archives of Plastic Surgery
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• v.33 no.4
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• pp.485-490
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• 2006

Purpose: As the traditional treatment of the Wassel's type I or II of bifid thumb, Bilhaut-Cloquet, has always been the standard method despite several disadvantages such as tearing of the finger nail, injuries of the growth plate, joint instability, and long visible scarring. To overcome these drawbacks, we applied a modified Bilhaut-Cloquet Method. Methods: The subjects used for the this study were 10 of 20 patients evaluated. The patients underwent modified methods under every type of Wassel's classification. We designed a central wedge Zig-Zag incision and removed the nail and bony tissues in the remaining digit, but not soft tissue if possible, and transferred the ligaments, tendons, and soft tissue to the remaining thumb from the extra digit. We evaluated the patients' lack of extension, the total ROM of the MP and IP joints, the ROM of IP joints, and the lateral deviations of the reconstructed thumb. Results: The results were encouraging, with all patients showing a good functional and aesthetic outcome. Conclusion: The modified method proved a very effective procedure in the treatment of bifid thumb in all types, especially types I or II.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.162-172
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• 2004

Architects and designers of the 20th Century made various efforts to establish new design languages reflecting the changes of society, the times, and environment. They used furniture, especially chairs, as controversial items of aesthetic value, society and ideology. Le Corbusier and Alvar Aalto are furniture designers as well as architects, who adopted this ‘spirit of the times’ actively and have greatly contributed to modernism. This study will help us to understand the diversity of design since modernism, by comparing these two designers' furniture design. It also covers the common factors In modern furniture design, and analyses their individuality and likeness In design. The following is a comparison of furniture design by Le Corbusier and Alvar Aalto. Le Courbusier linked International design and Aalto linked Rational design and Organic concept design to their furniture, just as they did in their architecture. They were able to establish the base of modern furniture design by adapting new concepts and pursuing humanism. In structure, Le Corbusier's furniture Is simple and proportional. It demonstrates a sophisticated geometric composition, mechanical beauty. On the other hand, Aalto rationally linked nature with human requirements and his furniture is organic and in harmony with geometric structure. In function, Le Corbusier's furniture is standardized and prefabricated. He designed for the user so they could choose to use the furniture efficiently to suit their needs. In comparison with Le Corbusier, Aalto Invented the ‘Stacking Chair’ which allows a more effective use of space and reflected the structure of the human body to improve the user's comfort. In materials and techniques, Le Corbusier used new materials like metal or leather, and attempted new ways such as welding, prefabrication, and standardization for production. On the contrary, Alto mainly used birch, which is the traditional material in Finland, and tried new bent wood techniques and joining methods.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.149-165
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• 2012

This study is to understand the characteristics of women's Hanbok fashion in the modern Korea by investigating the features of colors and color arrangements of remaining relics. The summary of findings from the researches and analysis from over 1840 pieces of Hanbok relics in modern Korea are as follows: First, since western-style cloth were introduced and utilized for Hanbok from 1960, the number of colors have drastically increased. However, the most commonly used colors and parts throughout all the periods remained the same. These are Y, R and white colors for Jeogori and Y, R and PB colors for Chima. And, as for the representative color of each of the six periods, significant changes of color were found Jeogori in the 1960~1970s. While no clear color changes were found in the period prior to the 1960s and after the 1980s. Secondly, as for the color tones, although the high luminosity-low chroma were generally used over the periods, it was observed that various colors of low luminosity-high chroma began to be used from 1960 and so Jeogori became more colorful. And lastly, Y and white color were taking up the highest percentage in the solid color arrangement. When composing 2 colors, the Y tone color dominants with R tone as sub-color was the most prevalent, and when 3 and 4 colors were combined, the extra color were increasingly seen in the upper garment cuff and collar so that the arrangement of different colors increased the aesthetic symbols when combined with the colors of the Chima.

• Korean Journal of Human Ecology
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• v.17 no.6
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• pp.1205-1213
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• 2008

Material is a factor for maximizing formative aspect among fashion design factors. Therefore, central axis of modern fashion is performing various trials for escaping from existing cloth and searching for artistic value. Especially, Korean paper is a formative material, which is manufactured through traditional manual work in Korea. The material is used in various fields on the basis of its aesthetic feature. Especially, fashion field performs handcraft activity on the basis of mulberry pulp, which is a prime material of Korean paper. Because the activity can be reinterpreted by world designers, who want to find motive of fashion material in the third world, it is necessary to perform experimental study for developing expressive form on the basis of diversity of Korean paper material. Therefore, the purpose of this study is to perform experimental study by focusing on the development of Korean paper material in order to express formative feature. The study purposes are as follows. The first purpose is to reinterprete the theory through actual work of fiber formation using Korean paper in the current flow where art and design field are fused and compromised. The second purpose is to suggest vision of material development on the basis of formative feature to fashion world focusing its eyesight to Asia and the third countries. The study results are as follows. First, Korean paper has been evaluated as proper material for the fusion of design and art because of its handicraft feature, long-term preservation, heat insulation, absorption, diversity and eastern feature. Second, the study performed various trials for artistic dress material by developing 12 Korean paper works and suggested the development of new material on the basis of formative feature of modem fashion industry.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.79-96
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• 2012

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo's design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo's fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo's design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.108-121
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• 1999

Creative spatial production in Environmental design relies, in large part, on the artistic talent of the designer(s) that is applied to the design solutions or schematic plans. This study proposes the importance and necessity of the use of 'Plastic Arts" or the technique of artistic manipulation and definition of space in Environmental Design studio programs. This fundamental design approach is currently lacking in Korean design studio programs. Moreover, the current trend of interdisciplinary design (that is, between landscape architecture, architecture, urban and environmental planning) emphasizes the importance of such techniques. "plastic Arts" techniques can serve as a basic code of communication between design disciplines and can in itself be a common approach. The method of this study is based on the empirical datas, that is, the educational performances which are executed in Landscape studio programs of some Korean Universities. The results are summarized as follows; 1. The program, "Plastic Arts" Should be included in the basic organization of Landscape design studio programs. 2. Unlike France where "Plastic Arts" program is implemented through out Landscape Architecture programs in Korea, "Plastic Arts" should be intensified and continued for longer period of time for students in the initial years. 3. In creation of "Plastic Arts" programs for Korean Landscape Design studios, the traditional and contemporary values of aesthetic of the Nature should be taken in consideration. 4. In order to confirm the necessity of "Plastic arts" program in the organization of landscape curriculum, more studies should be done, with empirical datas.pe curriculum, more studies should be done, with empirical datas.

• Korean Institute of Interior Design Journal
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• v.18 no.4
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• pp.31-42
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• 2009

Though Adolf Loos, an architect of 1920s said 'ornament is sin', feature of decoration has big gravity in modern architecture & its design trend. Embellishment as a new genre that combined new cultures, trends, and technologies is finally ascribing to skin design approach. For instance it is preference to rags, coarse fabric, external shape of fragments. Expressing surface as a ceremony in architecture or indoor design is also belong to the same category. In this respect, as a new approach on skin, the study focuses on visual and spatial changes that stimulate user's sensibilities consequently since skin design is based on human senses and sensibilities. As skin design expands the scope of human experiences comprehensively, and classify boundaries between internal parts and external parts or make them ambiguous, aesthetic embodiment on new trends is getting done. Through skins on buildings, a message is transmitted to a whole city, an opportunity for the city to be expanded into a new space is created, and human senses are stimulated through refusing a traditional sides by rediscovering decorations in space design and adapting the sides made in limitlessly-expressed styles. Thus, as a new approach on the skins that transmit a message through human senses, the study is to contemplate skin design, and to interpret them as works to eliminate boundaries among architecture, fashion, interior/exterior space design(especially exhibition and international fair)following their suits. Through interpreting this subject, the study is to understand and analyze comtemporary expansion situation on interactions among fashion and architecture, and interior design.