• 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.

• 한국식생활문화학회지
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• 제24권5호
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• pp.467-477
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• 2009

This study was conducted to investigate and analyze food related and space related elements of popular Vietnamese restaurants in Hong Kong to identify restaurant images related to food, to examine how Vietnamese traditions are applied to such restaurants, and ultimately, to get their implications for us. Luxury Vietnamese restaurants in Hong Kong tended to be located in major office buildings and famous shopping malls in the downtown area; therefore, they were highly accessible to foreigners. In addition, most Vietnamese restaurants were quite formal in size or atmosphere. The food-related elements of the luxury restaurants reproduced traditional menus, but the table setting and service generally adopted a formal Western style setting. The presentation of foods was also creative and contemporary, to suit international customers' tastes. Regarding the spatial elements, restaurants serving traditional menus had interiors influenced by the French colonial period, while those serving contemporarily adapted menus had interiors with simple contemporary images emphasized by Vietnamese traditional decorations. These characteristics allowed foreigners from diverse countries to access the restaurants without a sense of rejection. Casual restaurants were primarily exposed to many people on busy roadsides, but they tended to be inferior in terms of size and quality. Apart from size and price level, food-related elements failed to reflect Vietnamese unique traditional characteristics. The outward appearance consisted of basic construction materials (glass, chassis, and bamboo) instead of those representing Vietnamese architecture. Additionally, the interior of the casual restaurants contained traditional elements or objects more frequently than luxury restaurants, but they looked rather disorderly and lacked harmony. Overall, the image of casual restaurants was degraded by the use of cheap and low quality finishing materials and furniture. The results of this study may be useful for organizations promoting the Branding of Korea or businesspeople and designers promoting the globalization of Korean foods.

• 한국식생활문화학회지
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• 제23권2호
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• pp.204-213
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• 2008

In this age of information ruled by new technologies and knowledge, the world is interconnected as a single community, and within this trend of globalization, new cultural codes are emerging through temporal fusion between the past and the present and spatial fusion between different regions and countries. In this situation, it seems meaningful to review Korean fusion foods and restaurants serving such foods, as well as to consider their future directions. Thus, the objective of the present study was to survey and analyze Korean fusion restaurants representing Korean culture not only in Korea, but also in foreign cities, and to identify the expression characteristics of such restaurants. Based on restaurants recommended in relevant magazines and on Internet sites, 18 spaces were selected, visited, and surveyed, in which tradition and modernism were well-mixed. Data on the shapes, materials, colors, and patterns of spatial elements and food-related elements, including photographs, were collected and analyzed. The results are as follows. Of the 18 restaurants, 13 (72%) showed temporal fusion in both spatial and food-related elements, 4 showed temporal fusion in spatial elements and cultural fusion in food-related elements, and 1 showed cultural fusion in both spatial and food-related elements. In general, the spaces were mainly designed with modern elements and partially with traditional elements (ceilings, windows, furniture, articles), and the fusion of food-related elements was made in diverse forms that included temporal fusion restructuring traditional menus contemporarily, and cultural fusion harmonizing traditional food with Western cookery.

• 한국가구학회지
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• 제24권4호
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• pp.416-425
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• 2013

Luis Barragan's Architecture has creative feature that Mexican environment and traditional culture were complete by color. Thus the color of his work makes our emotions rich and colorful. He said "My architecture is autobiographical..." at speech in Pritz price. As we can see in his architectural philosophy that sentimental architecture is important than theorical system, his works are impression of empirical factor with intuition. "Color is a complement to the architecture. It serve to enlarge or reduce a space. It's also useful for adding that touch of magic a place needs", stated Barragan. During his process of shaping space, Barragan drew on color in the same way as an architectural component, according it a spatial funtion and expressive vale. he allied it with light, deeming it a crucial vehical for conveying the emotive attributes a site. The capacity of color to express sensitivity and sensuality within an architecture space is liked to its psycho-physiological qualities. In this kind of view, color featyre in Barragan's work is one of the most important tools to realize sentimental architecture, not only is result of the Mexican regional color. As a result, make focus on analyzing various meaning of the color in Barragan's architecture like poetic and habitable structure.

• 한국가구학회지
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• 제23권3호
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• pp.252-260
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• 2012

Cultural products, applying the design elements of cultural heritage Bekuje content of the product, we chose the useful material that can be used on a desk stand in the smart-phone Sticky Notes (Post-it) for use in modern life. The goal of the development design, developed in the design and excavation element modeling can be taking advantage of the characteristics of traditional decor come connected by a pattern of Baekje, eggplant in harmony with modern life, a new sense was harmony, design. He stressed the beauty of decorative molding to apply discriminatory morphological changes associated with each, a unique pattern of human pattern Jinmyosu Bekuje was elected to the motif of cultural property. You can also use a visual representation of the beauty obviously sophisticated pattern that appears frequently in Baekje, was also emphasized inheritance and traditions of Korea. We also attempted a new way to make sure we can diversify and whether it is possible as a new form, enhance the value of products, from concept to molt general existing tourism products.

• 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.

• Journal of the Korean Wood Science and Technology
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• 제50권6호
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• pp.375-391
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• 2022

Improving public awareness of wood is crucial for expanding the use of wood and establishing a wood culture. In this study, the environment and trends of the public's wood utilization were analyzed using a questionnaire survey and online text mining at a time when eco-friendly practices are gaining popularity. As a result of reducing climatic and environmental concerns and its positive physical and psychological effects, the use of wood is predicted to rise in areas intimately connected to everyday living, such as wood furniture, wooden structures, and interior materials. Nonetheless, there was a negative awareness that wood was expensive, difficult to maintain, and associated with deforestation. The correlations between wood-related search terms on major Korean portal sites were analyzed and categorized into five groups: Wooden architecture, cultural education, woodworking, wood industry, and wood policy. As a building material, wood was seen as more traditional and friendly than reinforced concrete and stone. Eighty-six percent of respondents expected to utilize wood as a building material in the future, regardless of whether the wood is domestically produced or imported. Sixty-five percent responded favorably about the effects of wood on the health of wooden home inhabitants. It is believed that both active publicity and quantifiable value analysis of human and environmental friendliness are required to increase pro-environment awareness of wood utilization.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.150-157
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• 2009

In the 1970's the Interior Design Associations was established and the activity of youth designers who werecalled the "first generation of Korean interior designers" were created. This study is aimed to analyze characteristics and trends of commercial interior design in the 1970's. The design methods include the documentary research and the actual proof research conducted. The frames of analysis were made by the background theories about Korean interior design, and the annual case studies were analyzed and estimated according to the design types. The design types were analyzed by the geometrical simplicity research, the romantic emotional expression, the Korean identity expression, the machine technical asthetic expression and the eclectic style with western classics. In the early 1970's, the abstract, brief, and simple expression were presented most frequently by the geometrical form and the repetition of the pattern. From the mid-1970's the romantic and emotional atmosphere of the youth culture that was popular at that time were expressed as vernacular design by the rough finishing of the natural materials such as plaster, brick, and wood floorings etc. The space such as a Korean food restaurant relates to the Korean traditional culture aims to be different through the expression by the Korean traditional patterns, furniture, and materials. In the late 1970's the metals and glass were used for the expression of the machine aesthetic form but was not popular because of the rare application. The type that revived the past western traditional form was presented by using the arch, dome, and the curved and luxurious moldings.

• Child Studies in Asia-Pacific Contexts
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• 제6권1호
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• pp.31-46
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• 2016

This study explored types and characteristics of South Korean crossover picturebooks that are enjoyed across generations. Participants included three publishers, six critics, six illustrators and three picturebook researchers, and focused on 92 South Korean recommended picturebooks published from 1995 to 2014 as the research material for this study. The majority of Korean crossover picturebook type was story, followed by information and art. There were few wordless books. Common themes of the story picturebooks were contemplation, traditional culture, social changes (such as immigration and redevelopment), reminiscence, social relations, loss and death, family problems, and social incidents. Classic essays and novels were revised for picturebooks as were famous poems originally written for grown-ups. Informational books were about traditions in music, architecture, furniture and special occasions like wedding and ceremonies. The style of the drawings were precise and realistic. Some drawings were done by brush and Chinese ink on hanji (traditional Korean paper) or silk. Some books featured Korean calligraphy as well, enabling adult readers to also appreciate the beauty and delicacy of the books. Art books and wordless books were quite rare and exhibited a playful tone. Adults alone were not presumed to be the primary reading audience of the picture books. Implications were made for picturebook marketing in a society such as South Korea, where the elderly population is rapidly increasing. Various forms of art books and parodies were also welcome. One conclusion of the study was that more experimental and innovative works would be encouraging for the development of South Korean crossover picturebooks.

• 대한가정학회지
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• 제31권3호
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• pp.197-212
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• 1993

The purpose of this study was to find out the physical change of the farm house and its anbang(the main room : master bed room), to identify the behavioral changes : activity and awareness of anbang, and to clarify the relationship between the physical changes of the farm house, and the behavioral changes of housing life-style in the anbang space. Bibliographical studies, cultural approaches and field survey method with questionnaire were used to collect data from 55 residents of Anwhari and Yangkyori in Pyong Teck Koon. Tables and drawings were made to analyze the data. The major findings were 1) the heating system of the ondol anbang. The most popular type is the double heating system(new pipes added to the traditional ondol). This combination ondol system brought some conviniences to the farmers. This change in structure of the ondol were of four types : Complete change in style, enlarged-completely changed style, partially changed style, enlarged-partially changed style. 2) from 1960 through 1970 lighting of the anbang changed room oil lamp to electricity. 3) the finishing material of the anbang floor changed from traditional oil paper and straw mats to vinyl flooring. 4) Traditional furniture and small decor items are gradually disappearing and are being replaced by modern items. 5) The awareness and actual use of the ondol anbang has not much changed from the multi-functional and sacred space of daily living : which are the characteristics of Korean traditional ondol anbang. The biggest consistency in the ondol anbang is the heating system of the floor, which is the characteristic of ondol culture in Korea. This system will continue regardless of time and place in Korea.