• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.54-60
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• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.1004-1009
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• 2009

Cultural products are created by hand in the overall consumption and high labor costs of a long time, and have the limitations of mass production. A large percentage of handicraft is wax-carving. This technique is difficult to express the small, detailed parts. This part of this to minimize the introduction of CNC system has to work with wax carving. this to CNC system has to work with wax carving minimize the introduction. Increase the accuracy of small and detailed parts. And various design and mass production will be efficient. In so doing, to enable the circulation of cultural products to have prepared.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.689-694
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• 2013

Craft culture industry 'crafts and culture made up of industry meaning of' rather than 'as a craft industry'. Culture it is desirable to see Roy. Craft culture industry features, technology, techniques, or by indigenous raw materials to the foundation, which is produced as a plastic product manufacturing process, characteristics of the main part of the craft industry with a means to manufacture products. Historically, over the years, which has been formed by tradition, culture, crafts related to specific industries. Only by looking at the craft cultural industries have unique features and understand the value and no longer making craft activity does not remain only in the dimensions of the production, distribution and development of craft industries and national and ethnic culture has inherited expression traditionality a representative craft, culture as a development plan for the industry through the development of market research is to propose ways.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.