• Journal of the Korea Computer Graphics Society
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• v.13 no.1
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• pp.7-14
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• 2007

In this paper we present an illumination model for rendering realistic stained glass. This techniques simulates the phenomenon of stained glass in real world by applying important optical component of the stained glass to the rendering algorithm. The optics for stained glass involves three basic physical mechanisms. First, diffuse light and highlight contribute to the brightness of stained glass which is typically white and changes along with the light source and the view position. Next, Fresnel refraction dominates the amount of refracted (transmitted) light. Finally, we express volume absorption occurs in all stained glass. Then, the rendered stained glass images achieve excellent realism.

• Journal of Conservation Science
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• v.32 no.3
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• pp.425-436
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• 2016

The Yakhyeon catholic church (Historic Site No. 252 in Korea) that was constructed in 1892 has been the first western brick structure to ever have existed and one of the most important historical materials in the Korean modern architecture. After a fire had broken out at the catholic church in 1998, the stained glass on the back wall, the slab glass (dalle de verre) introduced by Lee Nam Guy in 1974, was repaired in 1999 because of singe scorch and water leakage. An analysis of the coloration elements showed that yellow, red and green included Zn, K and Cd, respectively. The glass of red contained Se, dark green contained Mn and Cr, and blue contained Pb and S. According to material analysis, the masonry joint was identified dolomite ($CaMg(CO_3)_2$) and calcite ($CaCO_3$), which was observed plate, columnar, rhombic and square of crystalline particles. Meanwhile, ultrasonic velocity in the stained glass recorded low speed in the middle and lower right of the window (an average of 4,130 m/s). And the joint was measured the lowest physical properties of the top left and middle of the window (an average of 2,053 m/s). This study have showed that extensive physical damage was founded to the left and middle rather than the right side. In this respect, more research in needed to conserve the correlation between color and physical properties.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.1246-1251
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• 2006

본 연구에서는 영역 분할 알고리즘과 3차 스플라인 보간법을 이용하여 스테인드 글라스 렌더링을 위한 개선된 유리 타일 생성 알고리즘을 제안하였다. 먼저 유리 타일의 초기 형태를 추출하기 위하여 입력 영상에 Mean shift 분할 알고리즘을 적용하였다. Mean shift 분할 알고리즘은 영상의 각 픽셀(pixel)에서의 지역 밀도 최대 점(local density maximum)을 찾아 클러스터링(clustering)하는 알고리즘으로 영상을 효과적으로 분할할 수 있다. 그리고 분할된 영역에서 영역을 사용자 입력으로 병합하고, 영역에서 부적절한 형태를 없애기 위해 본 연구에서는 형태론적 연산(morphological operation)을 이용하였다. 추출된 영역으로부터 유리 타일의 형태로 만들기 위하여 추출된 각각의 영역에 3차 스플라인 보간법(cubic spline interpolation)을 적용하여 경계가 완화된 영역과 납틀(leading)의 형태를 얻는다. 그 다음 영역을 스플라인 곡선(spline curve)을 이용하여 재분할하고, 각 영역에 변환(transformation)된 색상을 적용하여 최종적인 유리 타일을 만들어낸다. 본 연구에서는 3차 스플라인 보간법을 이용하여 실제 스테인드 글라스에서 생길 수 있는 부드러운 경계를 갖는 유리 타일의 형태를 만들어 이를 스테인드 글라스 렌더링에 이용하였다. 이 방법은 기존의 영역 분할 알고리즘에 형태론적 연산만을 적용하여 유리 타일의 형태를 생성하는 것보다 효과적으로 유리 타일의 형태를 생성할 수 있다. 또한, 생성된 영역에 재분할 과정을 거쳐서 작은 유리 타일이 모여서 이루는 조형적인 형태를 이룰 수 있도록 하였다.

• Economic and Environmental Geology
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• v.56 no.1
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• pp.103-114
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• 2023

The Christian Museum of Gongju Jeil Church was first built in 1931 and was largely damaged during the Korean War, but the walls and chimneys have been preserved. This building has a high architectural values in that the chapel was reconstructed in 1956, and maintains its original form through repair of damaged parts rather than new construction. The stained glass windows were as installed in 1979 and has a great significance in the Dalle de Verre method using lump glass. However, some of the stained glass damaged partially, such as various cracks and splits, and vertical and horizontal cracks in the joint fillers of supporting the colored glass. As the structural materials of the stained glass window, an iron frame and cement mortar filled with it were used, and corrosion of iron, cracking of mortar and granular decomposition appear partially due to weathering. In the joint fillers, the content of Ca and S is very high, indicating that gypsum were used as admixtures, and the gypsums grow in a rhombohedral and forms a bundle, which is investigated to have undergone recrystallization. As a result of modeling the ultrasonic velocity at the joint fillers, the left and right windows at the entrance show relatively weak in the range of 800 to 1,600m/s, and the lower right corner of the altar window and the upper left corner of the center window were also 1,000 to 1,800m/s, showing relatively low physical properties. And gypsums produced during the neutralization of lime mortar were detected in the joint fillers and contaminants on the surface. Such salts may cause damage to the joint material due to freezing and thawing, so appropriate preventive conservation is required. Also, since various damage types are complexly appearing in stained glass window and joint filler, customized conservation treatment should be reviewed through clinical tests.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.140-148
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• 2002

This Study is concerned with the present condition and prospect of architectural stained glass in Korea. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. The stained glass inflowed with church architecture occasionally by the western missionaries. And it has been developed actively since 1980' with the boom in church building. There are about 30 studios which are making stained glass in Korea, but very few studio work true architectural stained glass. Stained glass is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass.I have considered the problems and prospected architectural stained glass which inspire modern architecture with human sensitivity in Korea.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.3-10
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• 2008

This study is concerned with the process of development and architectural characteristics of secular stained glass in the 20th century. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. Stained glass work is very flourish in Korea today, but it is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass. In order to recover the architectural nature of stained glass, I have considered the process of development of secular stained glass in the 20th century, and analysed the works of Frank Lloyd Wright, the postwar German artists, Georg Meistermann, Ludwig Schaffrath, Johannes Schreiter, and English artist, Brian Clarke. Major findings of the study are as followings : First, stained glass has come to life again from the secular glass painting decoration in the end of the 19th century, through Art-Nouveau, De Stil, Bauhaus in the beginning of the 20th century, and L'Art $Sacr\acute{e}$. Second, Frank Lloyd Wright, the postwar German artists and Brian Clarke have established the architectural concept and potentiality of the modem stained glass in the secular field. Third, They have done by coming back to the basic creative method by traditional lead-came technique in spite of the development of various materials and techniques. Forth, stained glass fundamentally has architectural characteristics as the characters of Space, Time, Place, Context, and they have showed the new possibility of stained glass by recovery of these characters.

• Journal of Conservation Science
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• v.10 no.1 s.13
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• pp.10-20
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• 2001

Since the feasibility for the application of laser to the conservation of artworks had been demonstrated by John F. Asmus at 1972 it was known from many experiments that laser cleaning technology Provided superior characteristics over conventional cleaning methods based on mechanical and chemical actions. Then, the research and development of the cleaning technology was carried out strongly in Europe and many successful cleaning applications such as stone, painting, stained glass, paper, leather, and metal have been reported. However this is not familiar as a cleaning tool in the restoration of artworks in oriental countries including Korea. Therefore, this article aims to introduce a laser cleaning technology and its characteristics for the applications to art restoration. The contents in this article include general principles and characteristics of laser, the introduction of laser cleaning technology, and real laser applications for artwork restoration.

• Archives of design research
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• v.14 no.2
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• pp.163-174
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• 2001

William Morris(1834-1896) was the most versatile and talented of all British nineteenth century polymaths. Since his death over one hundred years ago his achievements as an artist, designer, manufacturer, shop-keeper, poet, author, publisher, printer, collector, teacher, conservationist, political activist and environmentalist have influenced the lives and work of people throughout the world. Moris is now best known for his attractive and colorful patterns. The decorating firm of Morris, Marshall, Fault & Company(Morris & Company after 1875) was established in 1861. Over the years it produced works, ranging from stained·glass windows and furniture to tapestries, carpets and printed and woven fabrics, that had great influence on the course of British design. His earliest experiments with the craft were amateurishly worked embroideries made for his own use. Before long, Morris began to produce textiles on a more commercial basis. In order to control production properly, Morris set about learning the various textiles techniques, first dyeing and blockprinting, hand-loom jacquard and eventually, carpet and tapestry weaving. This extraordinary involvement with the practical side of manufacture separated Morris from all other designers of his time and contributed in no small way to his success. Morris's designs for textiles, embroidery, dyeing, woven, carpet and tapestry were commercially produced, that are most universally admired and frequently copied today. These have a timeless quality arising from the designers respect for and knowledge of the technique. Of equal importance was his love of nature, evidence of which can be seen in even the smallest details of each of his patterns.