• Title/Summary/Keyword: 건축장식

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National brand development research strategy using traditional Korean patterns (한국 전통 문양을 활용한 국가 브랜드 연구 개발 전략 - 금문(錦紋)을 중심으로 -)

  • KIM, Mihye
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.232-245
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    • 2021
  • The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

A Methodology of Seismic Damage Assessment Using Capacity Spectrum Method (능력 스펙트럼법을 이용한 건물 지진 손실 평가 방법)

  • Byeon, Ji-Seok
    • Journal of the Earthquake Engineering Society of Korea
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    • v.9 no.3 s.43
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    • pp.1-8
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    • 2005
  • This paper describes a new objective methodology of seismic building damage assessment which is called Advanced Component Method(ACM). ACM is a major attempt to replace the conventional loss estimation procedure, which is based on subjective measures and the opinions of experts, with one that objectively measures both earthquake intensity and the response ol buildings. First, response of typical buildings is obtained analytically by nonlinear seismic static analysis, push-over analyses. The spectral displacement Is used as a measure of earthquake intensity in order to use Capacity Spectrum Method and the damage functions for each building component, both structural and non-structural, are developed as a function of component deformation. Examples of components Include columns, beams, floors, partitions, glazing, etc. A repair/replacement cost model is developed that maps the physical damage to monetary damage for each component. Finally, building response, component damage functions, and cost model were combined probabilistically, using Wonte Carlo simulation techniques, to develop the final damage functions for each building type. Uncertainties in building response resulting from variability in material properties and load assumptions were incorporated in the Latin Hypercube sampling technique. The paper also presents and compares ACM and conventional building loss estimation based on historical damage data and reported loss data.

A Study of Traditional Pattern in Animation: focusing on Toom Moore's and (애니메이션에 사용된 전통문양 연구 - 톰 무어의 <바다의 노래>, <칼릴 지브란의 예언자-사랑에 대하여>를 중심으로)

  • Joe, Hyun-Jee
    • Cartoon and Animation Studies
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    • s.43
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    • pp.185-209
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    • 2016
  • Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

A Study on the Hwaban-chogak of the Neungwon-Jeongjagak (능원 정자각의 화반초각에 대하여)

  • Jeon, Jong Woo
    • Korean Journal of Heritage: History & Science
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    • v.51 no.4
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    • pp.24-43
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    • 2018
  • Thirty-five of Hwaban of Jeongjagak had been built in the last three hundred years, which means a Hwaban was made in almost every ten years. Jeongjagak is a building that requires a certain ornamentation having the identical Gongpo type, called E-ikgong, and maintains the same shape for a long time. While Hwaban is an element that faithfully serves the ornamental role, the field study found that Hwaban-chogak went through various changes over the years unlikely to Jeongjagak. This study enumerates and classifies the various types of Hwaban-chgak by outlining the similarities/differences of the various types of Hwavanchogak, and by discovering what the craftsmen aimed to express through the Hwaban-chogaks. As a result, Hwaban-chogak can be generally divided into two categories depending on the starting point of Chogak: 'Downward-Type' and 'Upward-type' and the study tried to find the origin of that. The first represents the stems of Hwaban crafts flowing from top to bottom, and the latter showing the opposite direction. Around 1740s Upward-type can be chronologically caragorised as; 'original- type' which contains lotus and 'modified- type' which eliminates lotus. It is inferred that the modified-type was caused by the employment system of the craftsmen. It is also recognized that the main frame of Hwaban-chogak had been maintained despite the fact that Chogak became increasingly ornamental for the next a hundred years from the Hwaban-chogak drawings in Whaseong-seongyeog-uigwe, which was completed in 1796. The study has a limitation that the focus of the research is only on the Hwaban of Jeongjagak and expected to look into Hwaban in the context of other construction elements such as Ikgong, Daegong and Anchogong for further studies.

Lacquer as Adhesive : Its Historical Value and Modern Utilization (접착제로서의 옻; 역사성과 현대적 활용)

  • Jang, Sung Yoon
    • Korean Journal of Heritage: History & Science
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    • v.49 no.4
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    • pp.114-125
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    • 2016
  • Lacquer is one of the most widely used natural resin in East Asia since Neolithic Age. As a major ingredient of lacquerware, lacquer is waterproof, insect-proof and rot-proof to be durable and anti-abrasion, generally utilized for mainly painting purpose. According to lacquerware excavated from several sites of Japan and China, lacquerware seems to appear in Neolithic Age. On the other hand in case of excavation research in Korea, lacquerwares are found after the Bronze Age. The initial purpose of lacquer is estimated to be adhesive, regarding the literatures mentioning bitumen(Yeoksceong ), animal glue(Kyeo) and egg alumen(Nanbaek). Especially piece of jar coffin unearthed in Pyeongtaek Daechu-ri site had trace of restoration by lacquer and hemp as an evidence of lacquer for adhesion in Pre-Three Kingdoms period. Since then a trend to restore the broken ceramics with lacquer and decorate with golden foil lasted especially in Joseon Dynasty. In the field of gold plated lacquer method, mother-of-pearl inlaying technique for lacquerware and restoration of buildings, lacquer is still used as adhesive. Due to matter of reversibility lacquer is being avoided for conservation and restoration of cultural heritage. Lacquer as a traditional material for adhesive since ancient times, however, has advantage in adhesion strength and durability. Because synthetic resin adhesive has problem of emission of volatile organic compounds and aging over time, lacquer receives attention recently. On the contrary, by combination adhesive from mixing lacquer and animal glue, already proved the possibility of applicability and chemical modification. A research to utilize lacquer as modern paint or functional material is also conducted continuously also in China and Japan. To put traditional material into practical use and modernize, chemical research from the molecular level of the lacquer is necessary in the near future.

A Study on the Usage of Miào(廟) and Gōng(宮) in Zhou Dynasty through the Mentions to Them in the Scripture Sentences of 『Chūn-qiū(春秋)』 - In the Process of Investigating the Existence of Zhou Dynasty's System to Regulate the Number of Zōng-miào(宗廟) 【1/2】 (『춘추』 경문에서의 묘(廟)·궁(宮) 언급을 통한 주대(周代)의 그 쓰임 사례 일고찰 - 주대의 묘수제(廟數制) 실재 여부에 대한 궁구 과정에서 【1/2】-)

  • Seo, Jeong-Hwa
    • The Journal of Korean Philosophical History
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    • no.57
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    • pp.57-90
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    • 2018
  • In this discussion, as a way to verify the existence of the system to regulate Zhou dynasty's $z{\bar{o}}ng-mi{\grave{a}}o$(宗廟) numbers, the discussion was focused on '$mi{\grave{a}}o$ (廟)' and '$g{\bar{o}}ng$(宮)' in the records of "$Ch{\bar{u}}n-qi{\bar{u}}$(春秋)". As for the parts where the contents of scripture sentences were not specific, the context of the case was investigated through the writings in "$Zu{\breve{o}}-zhu{\grave{a}}n$(左傳)" and other materials. In the cases of the usage of the letter, '$mi{\grave{a}}o$(廟 : a ruler's house, a nation's royal court)', in the scripture sentences in "$Ch{\bar{u}}n-qi{\bar{u}}$(春秋)", the followings need to be noticed. In $t{\grave{a}}i-mi{\grave{a}}o$(太廟) of State $L{\check{u}}$(魯), nationwide events and a ruler's political ancestral rite, $d{\grave{i}}$(?) ritual, were performed, and fancy tools for ancestral rites used in those rituals were equipped. As for the $z{\bar{o}}ng-mi{\grave{a}}o$(宗廟) of a ruler of those times, a ritual of royal court, $ch{\acute{a}}o$(朝) rite, was performed. The usage case of the letter, '$g{\bar{o}}ng$(宮 : house)', is as the following. In $g{\bar{o}}ng$(宮) where a ruler's personal family lived was a family ancestral rite for them carried out. The record about the ornate decorating for the $hu{\acute{a}}n-g{\bar{o}}ng$ house(桓宮), which can be said to have been the political base of $s{\bar{a}}n-hu{\acute{a}}n-sh{\grave{i}}$(三桓氏), three politically noble families of State $L{\check{u}}$(魯), is outstanding. The $x{\bar{i}}-g{\bar{o}}ng$ house(西宮) during $X{\bar{i}}-g{\bar{o}}ng$(魯 僖公)'s reign and a $x{\bar{i}}n-g{\bar{o}}ng$ house(新宮 : a newly built house) destroyed by fire at the third year of $Ch{\acute{e}}ng-g{\bar{o}}ng$(魯 成公), are assumed to have been a ruler's another house, such as the $ch{\check{u}}-g{\bar{o}}ng$ house(楚宮) in which $Xi{\bar{a}}ng-g{\bar{o}}ng$(魯 襄公) used to enjoy staying, which is different from the viewpoint that it might be a $m{\acute{i}}-g{\bar{o}}ng$ shrine(?宮 : a house constructed as a shrine for the deceased father or the deceased grand father) that had been formed since Han dynasty. It has been discussed that, regarding the records that the '$w{\check{u}}-g{\bar{o}}ng$ house(武宮) was built' and that the '$y{\acute{a}}ng-g{\bar{o}}ng$ house(煬宮) was built', certain buildings were established with the symbols of '$w{\check{u}}$(武 : martial arts and force of arms)' and '$y{\acute{a}}ng$(煬 : to burn and get rid of everything)', and the events that a lord stood as its lord continued. Therefore, its main goal was not the performance of a dutiful ancestral rite by a ruler of those times for deceased rulers, for instance, $W{\check{u}}-g{\bar{o}}ng$(魯 武公) or $Y{\acute{a}}ng-g{\bar{o}}ng$(魯 煬公), but display of certain political symbolism through the ritual. This symbolism is most obvious with the $hu{\acute{a}}n-g{\bar{o}}ng$ house(桓宮) and the $x{\bar{i}}-g{\bar{o}}ng$ house(僖宮). As a consequence, all $mi{\grave{a}}os$(廟) and $g{\bar{o}}ngs$(宮) in scripture sentences had the functions of a shrine in some part, but it has been verified that they were not the buildings set up as a shrine to follow '$z{\bar{o}}ng-mi{\grave{a}}o$(宗廟)'s number regulation system' of '$ti{\bar{a}}nz{\check{i}}-7-mi{\grave{a}}o$(天子七廟 : an emperor owns seven $mi{\grave{a}}os$(廟))' or '$zh{\bar{u}}h{\acute{o}}u-5-mi{\grave{a}}o$(諸侯五廟 : a lord owns five $mi{\grave{a}}os$(廟))'.

Practical Strategies for Urban Regeneration through an Application of Landscape Urbanism (랜드스케이프 어바니즘 관점에서 본 도시재생 전략 연구)

  • Cho, Se-Hwan
    • Journal of the Korean Institute of Landscape Architecture
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    • v.38 no.2
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    • pp.109-118
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    • 2010
  • This study aims to propose practical strategies for the new urban ideal of regeneration. A book review highlights the emergence of new trends of urbanization in knowledge-information industrial society beyond the new town Ideal of the industrial society. The meaning of ‘landscape’ in landscape urbanism represents not the visual and decorative pictures, but the dynamic process in the context of changes and evolutions. Also, knowledge-information industrial society and landscape have a meaning in the same context of flow and process with changes of velocity. Finally, these key words convey a meaning with the new urban trends of urbanization in knowledge-information industrial society in the context of value-oriented characteristics of dynamics and process. Urban regeneration is emerging as the new urban ideal in the knowledge-information industrial society, beyond the new town ideal of industrial society. It is in the same context as landscape urbanism with respect to green infrastructure buildings and designs for the transformation of urban surfaces covered with concrete and asphalt into the ecological surface, and of the ecological surfaces into the cultural surface that could be communicated with human beings. This research revealed the six strategies for urban regeneration as follows. The First, the strategies for the transformation of urban surfaces into ecological surfaces, the second, the strategies for the transformation of ecological surfaces into cultural surfaces, the third, the introduction of mixed and convergence land use, the forth, the transformation of former sites(e.g. military and factory) into urban parks, the fifth, the introduction of waterfront park zones that have the function of ecological and park-oriented mixed land use and, the sixth, the building and design of green infrastructure in the residential and commercial complex in CBD. These strategies call for the reforms of development laws and regulations to restrict building coverage ratio, building heights, and the introduction of park-oriented mixed zoning regulations. Another method for implementating the above listed strategies was the introduction of a strategic planning system instead of the traditional master plan system. This system uses a value planning approach and brand making by imagery. It is able to construct the meaning of an image and its creativeness directly.

A research on remodelling of the laboratory of S high school of broadcasting for converting into specialized one in the section of broadcasting industry (방송 산업 분야의 특성화고등학교로 전환을 위한 S방송고등학교의 실험.실습실 리모델링에 관한 연구)

  • Oh, Seung-gyun;Lee, Myung-Eui;Lee, Yong-soon;Kim, Jinsoo
    • 대한공업교육학회지
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    • v.34 no.1
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    • pp.87-112
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    • 2009
  • The aim of this research is to suggest the model of reconstruction and remodelling of S high school of broadcast for converting into a specialized one in the section of broadcast industry. The method of reconstruction of the laboratories by each department is as follows. First, the names of laboratories, ground plans, and perspective drawings are designed according to the principle of constructionism. Second, each department is recommended to install 7 laboratories. For the department of broadcasting facilities, a laboratory of processing broadcasting machines, a laboratory of broadcasting machines, and a laboratory of screen picture machines are needed. For the department of broadcasting, electricity, and communication, a laboratory of image and sound edition, a laboratory of broadcasting and communication, a laboratory of broadcasting system, and a laboratory of stage illumination. For the department of broadcasting stage construction, a laboratory of broadcasting stage building, a laboratory of broadcasting stage design, a laboratory of broadcasting stage decoration and etc. Third, an office room is designed by department in the form of seminar room and places for practice is formed by department to be a laboratory. Fourth, a room for industrial-educational cooperation is installed by department, by which education of industrial-educational cooperation is carried out harmoniously. And one example of a remodeled laboratory by one department is shown with laboratory name, ground plan, perspective drawing, and running method. Especially employment of teachers working both school and business, professional club which is concerned with broadcasting technique, and attraction of enterprise in school is suggested as important elements to manage broadcasting laboratories efficiently. Finally, it is desirable for us to attract private capital, that is, Build-Transfer-Lease(BTL) because much budget is required for purchasing the broadcasting equipments and remodelling the laboratories to succeed as specialized high school on broadcasting section.

The Philosophy of Good and Evil Engraved on Roof - End Tiles - A Contemplation of "The Smile of Silla" Roof-End Tiles (수막새에 새겨진 선악의 철학 -신라의 미소, 수막새를 통한 고찰-)

  • Yun, Byeongyeol
    • Korean Journal of Heritage: History & Science
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    • v.53 no.1
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    • pp.4-23
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    • 2020
  • This study examines the universal meaning of the roof-end tile, our cultural property, and especially focuses on an ontological interpretation of the "Smile of Silla" roof-end tile. In addition, the problem of good and evil read here is considered in connection with the universal problem of philosophy. The issue of good and evil is a theme in philosophy, theology, religion, and culture that will endure throughout human history in both the East and the West. Augustine and Schelling inquired deeply into the source of evil and obtained an answer to this question based on their methods, but their answer is not universal or absolute, or an answer that applies to everyone. This is because the issue of good and evil possesses both a direct relationship with every human being and a characteristic that will remain unresolved. That is to say, the metaphysical question regarding the source of evil will always be one that is open. Nietzsche, however, repudiated the morals handed down through Socrates and Christianity, and urged that we reside "beyond good and evil." This brief review argues that good and evil exists in the form of a being in itself, whether it is within our grasp or not, and reveals that good and evil is more "this-worldly" than it is "other-worldly". The roof-end tiles with facial markings passed on to us also presuppose that evil is in full force in this world and exerts its influence. This review taps into several folk methods for coping with the existence of an invincible evil that surpasses human capability and contemplates the extraordinary and creative ideas of the Silla people through their "Smile of Silla" roof-end tiles with facial markings that were used to counter evil.

Iconography and Symbols of the Gwandeokjeong Pavilion Murals in Jeju (제주 관덕정(觀德亭) 벽화의 도상과 표상)

  • Kang, Yeongju
    • Korean Journal of Heritage: History & Science
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    • v.53 no.3
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    • pp.258-277
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    • 2020
  • The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19th and early 20th centuries.