• 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.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.82-95
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• 2006

The purpose of this study is to figure out the types and characteristics of golden decoration technique out of various techniques of expressing patterns on the costumes. This study reviews both costumes decorated with gold in the relics of Chosun dynasty and literatures focused on domestic and Chinese documents and records. The types of decoration technique using gold include JigGeum (brocade technique), InGeum (gold powder and flake attaching technique), and GeumSaJaSu (embroidery technique). The JigGeum is weaved using golden thread instead of silk thread in order to express patterns. The InGeum technique is to attach gold or silver powder or thin gold or silver flake on the surface of the fabric. The GeumSaJaSu technique is to embroider with gold thread on fabrics. 82 pieces of costumes made using gold in Chosun dynasty era are analyzed. The results follows; In terms of types of technique, is shown to take the majority; JigGeum (43.90%), InGeum (30.49%), GeumSaJaSu (23.61%). Looking at the patterns used by the types, plant pattern and letter pattern are mostly used for both the JigGeum and the inGeum. In terms of the characteristics by their uses, the InGeum is used for court dresses (52%). It is also used for ordinary dresses (12%) and for other purposes (36%). It is mostly used in the court dresses in the late period of Chosun dynasty era. The JigGeum is used for ordinary dresses (47.22%), for court dresses (44.44%) and for other purposes (8.34%). It is evenly used for court dresses and ordinary dresses.

• Journal of the Korea Convergence Society
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• v.11 no.7
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• pp.73-78
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• 2020

Modern architecture and design show experiments that practice exchange and convergence with other genres through expansive thinking. This study aims to propose the use of graphic skins as a means of dematerializing and invisiblizing expressions of architecture. The method of realizing 'invisible architecture' can be largely divided into methods that use materials that manipulate light and graphic approaches based on trickery techniques. The exterior wall graphic of the special stage in Seoul Plaza can be said to be an attempt of dematerialization to make the building structure light and transparent, and a case to propose the role of super graphics to maintain the identity of the original place by erasing disharmonious elements from the field of view. It is expected that the graphic skin will be used as a powerful means of expression in the era of 'invisible architecture' as an effective camouflage method and media beyond the means of decorating the exterior walls of the completed facilities.

• Journal of the Korean Institute of Telematics and Electronics S
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• v.36S no.10
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• pp.72-82
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• 1999

The error diffusion algorithm is excellent for reproducing continuous gray-scale images to bianry images and also has good edge characteristics. However, it is well known that artifacts with objectionable patterns can occur in the halftoned images. On the other hand, a halftone algorithm using blue noise mask has been proposed. where the halftoning is achieved by a pixelwise comparison of gray-scale image with an array, the blue noise mask. It doesn't have pattern artifacts, but the halftoned image looks unclear because the quantization errors are not feedbacked compared to the error diffusion. In this paper, edge enhanced error diffusion which dithers the threshold with the blue noise mask is proposed. We show that the proposed algorithm can produce unstructured and edge enhanced halftone images. This algorithm is analyzed by the concept of an equivalent input image. The performace of the proposed algorithm is compared with that of the conventional halftoning by measuring the radially averaged power spectrum and edge correlation.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.671-680
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• 2020

Today, if you don't reflect trends in developing new content crafts, you can't succeed in marketing. This is because the trend is the driving force that leads to the needs of consumers that come and go temporarily. The current market is changing and wants new lifestyle trends. As a trend of such latent desire, the purpose is to develop high-value-added interior vases using rice cake patterns and ceramic complexes. In the manufacturing method, the first rice cake patterns writing tool is stamped at a different angle from the top of the toremi board (a new term created above) written in the process of the pot work. A cylinder is made of a second potter's wheel, and after the outer wall is double-flavored, the cylinder is quickly rotated to be extended by pushing it from inside to outside by hand. The purpose of this vase is to develop a decorative vase with high added value by experimenting with various geometric patterns that are dismantled vertically and horizontally at a high speed with the static rice cake pattern stamped on the third, and then utilizing the various rice cake patterns developed in this way as the shape of a jar.

• Conservation Science in Museum
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• v.20
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• pp.31-48
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• 2018

The Geumganasa Temple site two Ridege-end tiles at the Buyeo National Museum(The Buyeo2150-1 and 2150-2, hereinafter referred to as 2150-1 and 2150-2) were excavated the Geumgangsa Temple site. They provide important materials for investigating the shapes and production techniques of the ridge-end tiles of the time since their lower portions remain relatively intact. This study is intended to examine whether the two ridge-end tiles were identical. Conservation treatment, including removal of foreign substances, was conducted in preparation for observation with the naked eye to compare the formal features and production techniques of the two examples. The study revealed that these ridge-end tiles shared formal features such as surface color, clay composition, shape, size, and decoration; however, they differed in terms of production technique. The 2150-1 tile was made by assembling a separately-made body and wing and has no hole through the back, while the 2150-2 tile had its body and wing made as a single unit using long clay plates and features circular holes in the back. It was revealed that one portion of the body of both tiles was intentionally tilted during the production process.

• Archives of design research
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• v.14 no.3
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• pp.197-210
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• 2001

There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.133-144
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• 2020

Anthropomorphism is one of the commonly used appeal methods in the field of communication design. Almost all visual images that humans encounter are exposed to this anthropomorphism, and we are consciously or unconsciously utilizing or being used. In addition, anthropomorphism can be found in almost all cultures and arts rather than in a specific field of study. Therefore, in this paper, the personification is redefined based on the relationship formation structure based on the anthropomorphic cases observed in culture and art and the results of previous studies. In addition, the personification form is defined as two kinds of personification and inverse personification according to the subject of relationship formation based on the personification type and gesture list derived from the previous study on the personification technique. Through the application cases of anthropomorphic techniques, which are appealed across the design domain, the effective anthropomorphic application system was defined. The definition of anthropomorphic relationship formation and anthropomorphic application system provided a framework for anthropomorphic techniques that could lead to effective audience satisfaction in various media. In addition, through the personification application system that synchronizes the characteristics of the conceptual traits of the medium with the gesture list and the personification type classification, it was confirmed that a device for communicating with the owner can be provided with a powerful and effective personification technique.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1554-1561
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• 2005

This study aims to analyze modern hairstyle and fashion in the collections in the late 1990s, based on the concepts and characteristics of Minimalism, a buzzword of the art field in the 1960s. This study used qualitative research method, in other words, presenting an analysis framework by studying domestic and foreign books and dissertations on Minimalism and then applying the Internet or visual image to the analysis framework. The result indicates that Minimalism design in modem hairstyle and fashion has four characteristics: simplicity, unity, repetition and spatiality.