• Archives of design research
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• v.18 no.4 s.62
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• pp.155-164
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• 2005

In contrast with product design field, some designers who work in furniture field tend to do their own studio works as well as typical designing part. Especially in the small furniture studios for the limited quantity batch production, custom made or handmade craft furniture which is finished with high quality, the propensity for their own production is more obvious than in the big furniture companies in this case. In this kind of small-scale furniture studios, they have more chance to create the various formative works and 'curved shape' is one of the most important elements to form creative pieces. Except by caning, it is very difficult to make curved wooden shape because of own characteristic of wood. Therefore, the special techniques of bending wood are essential to formative furniture production and vacuum press system is introduced as a main subject for the bending wood method in this study. Especially for the designers who work as makers as well at the small furniture studios, the value of vacuum press system on efficiency and productivity of work was sought by testing and improving the method of wood bending techniques. According to this practical searching, ideally sufficient condition on vacuum pressing work was founded as a result on this study.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.1
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• pp.19-28
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• 2016

This research aimed to suggest a standard design that reflects Hanok design tendency, and present a selective design that can fulfill a building owner's intention beyond the simple function of building permit or report. In addition, this research attempted to become a standard by establishing a criterion in calculating the measurements of section design or primary framework members, in order to be a guideline for designing Hanok in different sizes and forms. The results are as follows. The building area of Hanok standard design was set to be below $85m^2$, with a straight type of $83.16m^2$ and an L-shape of $84.24m^2$. By dividing the plane into a straight type and L-shape, two straight types were suggested: 'general type' and 'large living room type.' The upper floor space, along with the main room and small room, was proposed as an option to be changed into a room where an underfloor heating is installed depending on the building owner's intention. In addition, a criterion for side design and calculation of framework measurements was suggested and applied, while a five-girder design without high pillars was suggested for material-assembling structure. Two types of pillars-circumference and square cylinder-were proposed for the building owner to choose from, and a pointed beam house and ikgong(orthogonally-projected bracket) house were suggested for pojak bracket structure so either of them could be chosen according to the building owner's taste and economic condition. Finally, the sectional size of main materials were divided according to the form of pojak bracket structure to be proposed.

• Journal of architectural history
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• v.31 no.4
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• pp.71-86
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• 2022

This study examines the process of the introduction of stupa, which has originated in India, to the Xinjiang Uyghur region and the features of the stupas in the Xinjiang Uyghur region in detail. This study examines the layout of the buildings in temple compounds and the types, structural elements, and construction methods of the stupas in the Xinjiang Uyghur region in particular by looking into the content of the Da Tang Xi Yu Ji and remaining stupas, which provide examples of stupas at the time. This study finds that due to the characteristics of dry deserts, stupas in Xinjiang Uyghur region, where assimilation between Eastern and Western cultures is seen, were mostly made by pressing clay into a mold and had no interior spaces. Also, construction materials and techniques had been developed and improved in a way that enabled stupas to combat the challenging desert conditions. However, the stupas in this region differed significantly from the wooden tower-like stupas discovered in central China(zhongyuan 中原). The shape of the dome of most stupas in Xinjiang Uyghur region was chosen under the influence of the Gandharan style. Some of the stupas in the region have taken the general forms of the wooden stupas and the others have taken many forms, from cylindrical drums to towers. Also, there have been forests of stupas and stupas similar in form to chaityas and stupas of Vajrayana. Such different forms were transformed and modified through regional history and it was related to the peoples and cultures that produced and used stupas. Stupas evolved into distinct forms in Xinjiang Uyghur region in this way.

• Journal of the Korean housing association
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• v.8 no.1
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• pp.23-35
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• 1997

The purpose of this study is to analyze the original plans of the Railway official residence and process of the transfiguration of those plans based on the transition of social-culture, using 54 houses which were built from 1920 to 1945 in Taegu-Kyoungbuk province. In addition, this study was carried out by means of research on the form and pattern, and visual anthropological method by photograph and direct observation. The results of this study are as follows : 1) The original plans of Railway official residences were composed of the entrance hall, TADAMI Rooms, bathroom, toilet and HUSMA(wooden sliding doors). 2) After 1945, the room, kitchen, toilet of Japanese style had been trasfiguerated to Korean traditional style. 3) Since 1980's, those of Korean traditional style has been trasfigurated to the livingroom, dinningroom, entrance hall and etc. of western style.

• Journal of the Korea Furniture Society
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• v.24 no.3
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• pp.217-225
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• 2013

The furniture of the Joseon era, life sense of human forms a culture has appeared well. Feeling of life refers to the sense of feel natural to the history and traditional culture of the area and their own customs. Further, it is possible to be a sense that reflects the mental contents ego, ethical and religious. Furniture traditional and sophisticated sense like this is to take care of the sophistication that comes out from the inside than the beauty artificial as a function of the sense and user preferences. This is a feeling of unique Korean. Due to changes in the housing, the beauty of these illustrates the altered form mechanically a uniform in modern times. Have that desired to be manufactured furniture by applying the neck Korean furniture of our living environment that will change in Western Europe of today, with the tradition of the modern lifestyle.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.248-252
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• 2010

This study is carried out to introduce the concept of Kagome structure as the new trial for the furniture design and the feasibility of its utilization in furniture industry. Kagome means originally the two dimensional bamboo-basket woven pattern that is composed of interlaced triangles whose lattice points each have four neighboring points, which was used in traditional bamboo craft design like 'Jukbuin(bamboo-wife)'. Its unique truss structure has been widely used by many kinds of the domain of science and engineering in mechanical and architectural industry with some merits, i,e, material utilization efficiency and robust strength. Here we tried to introduce two dimensional and three dimensional form of Kagome which are supposed to be a furniture design elements. Authors think these Kagome design could be realized with domestic lumber of inferior properties. Both of them would be used as a decorative element or mechanical supporter in furniture design.

• Bulletin of the Society of Naval Architects of Korea
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• v.7 no.1
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• pp.13-26
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• 1970

An elastic plate bar jointed to a rigid bar is considered. The bar is subjected to uniform axial tension. A theoretical approximate solution is obtained in an infinite hyperbolic series form and some numerical results for various Poisson's ratios are presented. A rubber plate joined to a strong wooden plate has been tested to obtain an experimental data and the results are compared with theoretical ones. Two values for vertical displacements are in good agreement but it is not satisfactory for horizontal displacements. The conclusion arrived at are as follow : The natures of stress distributions and deformed shapes given by above theoretical solution are compatible in mechanical sense. The magnitudes of stress and displacement components would not be reliable for exact works. A sharp shear stress concentrations are detected at the both ends of the joint.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.9-17
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• 1992

According to the 17th century palace construction documents, head artisans were called Pyunsoo. In one building constructions, not only carpenters but also masons, plasterers and painters had their own head, Pyunsoos. This meant that Moksoo-Pyunsoo, head carpenter, could not manage the whole design of the building. Moreover, in many cases, selecting and laying the site of the building were determined by the geomancers. Under those working conditions, Moksoo-Pyunsoo could only have charge of designing the wooden parts, such as structural forms or detailed carvings. The documents showed that some dominent carpenters, like Kwak Ki Jong or Lee Choon Bong, had taken on the post of Moksoo-Pyunsoo in almost every palace constructions, especially inner palace buildings. Form the fact that the same carpenters had worked continuosly, it can be presumed that there would have many resemblance of structural forms or carvings among those inner palace buildings.

• Journal of the Korean association of regional geographers
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• v.3 no.1
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• pp.155-163
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• 1997

The Mongolian ger is ideally suited to the mongol's steppe climate and the nomadic way of life. This is a multipurpose dwelling which can be easily collapsed, transported to another place and put up again fully preserving its original shape. The pastoral nomadic ger has two key components: the wooden framework and the felt cover. The wooden parts are the walls(khana), the long poles(un), the smoke escape(toono) and its supports(bagana). One wall consists of 10-15 branches of willow tree. each about 1.5m high bound together in a way making it possible to fold it for transportation and then unfold it like an accordion. The unfolded walls are connected to form a circle. The long poles(un) are fastened to the upper part of the walls, with the other end passed through the toono hole, the only sky window and smoke escape through it from the ger. The toono is propped up by two posts, called bagana. All this forms the wooden framework of the ger, which is covered with felt. When the herders fire up their metal stoves, the temperature inside the ger becomes quite comfortable. Because the nomads live in a climate where there is only one growing season in a year, they do not make long migrations to new pastures. Livestock subsist on standing vegetation for eight months of the year. The basic pasture migration strategy is to leave enough standing vegetation at the end of the growing season in September to suffice until the new growth appears the following May. Mongolians use a type of compressed tea leaf that is called "brick" tea in English because it is rock solid and roughly the shape of a brick. And they consume a larger percent(88%) of fat from animal products such as meat, milk, butter, and cheese than any other people in the world. Milk products made from the milk of sheep, yak, and goats are major foods in the nomad's diet, but they are produced mainly in summer when all the animals are lactating. Mongolians made their special nomadic food culture on the steppe.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.68-83
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• 2016

Pan-jang(板墻) has become the lost facility, and the examples of its original form can be found no more due to its variable material characteristics. In order to study panjang as a lost facility, the following are needed: - To bring to light its usage and examples. - To investigate its components and structure. Panjang refers to the wall made of wooden plate and is classified as a special wall according to its material characteristics. In addition, Chinese mokyeongbyuk(木影壁) and Japanese panbyeong(板?) are similar to Korean panjang in terms of the materials, but there are clear differences in their structures. Panjang was also transformed into various types according to their materials or forms. As the wooden elements of panjang, sinbang(信防), pillars, do-ri(道里), jungbang(中枋), inbang(引枋), parn(板), dae(帶), choyeop(草葉), bangyeon(方椽), gaeparn(蓋板), pyeonggodae(平高臺), and yeonharm(椽檻) were selectively used, and they are similar, in particular, to the components of ilgakmoon(一角門). The stylobate of panjang is largely classified into three according to the kinds and structures of the wooden elements; and its frame into two according to whether sanginbang(上引枋) is used or not. The materials for the roof area include planks(蓋板) and tiles and have the distinct structural differences according to each material.