• Archives of design research
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• v.19 no.5 s.67
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• pp.351-362
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• 2006

Currently, finding one's way in the underground spaces associated with subway stations in large cities is becoming a serious problem, and an environment that facilitates wayfinding is becoming more important. This study investigated interior treatments that function as visual cues in the subway stations of Seoul, Tokyo, and Taipei in order to develop design guidelines that would improve the place-cognition environment. A theoretical study has shown that there are three categories of visual cue for place cognition: marked trails, regional differentiation, and landmarks. The case study showed that marked trails involve treatments like vertical markers, confrontational positioning, and subway color codes. Regional differentiation involves patterns on the floors and walls, and accent colors on the walls and columns. Landmarks include treatments such as super graphics, symbolic features, artistic decoration and special lights. In the cases of Seoul, marked trails and regional differentiation were predominant. In addition, the Olympic symbol 'Hodori' and the ancient Korean character "Hunminjungeum" were used as landmarks. In the cases of Tokyo, regional differentiation predominated over marked trails because of the complexity of the spatial structure and subway line connection system. In the cases of Taipei, simple, unified images predominated, and there was minimal dependence on marked trails and landmarks. The need for regional differentiation was weak, because the stations studied have open structures that guarantee an open field of view. The results of this research could be used as design guidelines, after further experimental verification, that would help to improve the public environment in terms of wayfinding.

• Journal of Conservation Science
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• v.25 no.1
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• pp.1-16
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• 2009

Jeollabuk-do is bounded by the sea, and Mahan Baekje culture have been established around a wide plain. Also, in southeastern, it was closed by Gaya kingdom where iron culture was prosperous at that time, a variety of the handles of swords with round pommel is excavated at present. The handles of swords with round pommel is the best amount of excavated objects among the swords with round pommel and producted object for the time. It supposes them to become the foundation of making the decorated swords with round pommel. But, the handles of swords with round pommel that don't have a pattern in handle is indifferent to study because the production method is simple in spite of that the value of archaeological data is sufficient. Therefore, in this study, it examined changed production techniques with the change of times concerning the handles of swords with round pommel of Mahan Baekje Gaya period(before 6C) excavated from Jeollabukdo through using X-rays in order to clarify a variety of production techniques of the handles of swords with round pommel correctly in accordance with a period of production and excavated place. As a result, identified production techniques using X-rays of the handles of swords with round pommel excavated around remains of Mahan Baekje Gaya period shows that production progress improved in order of all-in-one shape, hammer welding shape of the handle of round pommel, and two in body formation in accordance with age. Especially, in two in body shape, it products the handle of round pommel separately, after that it welds the handle of swords and then links the sword blade like a riveting or bottleneck and so on. Despite of improved hammer welding technique, the reason why it didn't utilize is it regards as inlay or gilt will be damaged. And it is judged by using riveting or bottleneck. Also, it appears to techniques of metal craft such as decoration of the handle, decoration of point of sword, inlay, and silver-plating in the period of appearing two in body shape. As clarifying correctly, it provides fundamental database of scientific research about a study of production techniques of handle of swords with round pommel.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.24-41
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• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• Conservation Science in Museum
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• v.16
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• pp.56-81
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• 2015

Ring in the scroll painting is one of the mounting elements which are fixed string and tassel to hang, these differ widely in shape and produce a variety of metals. Most traditional shapes of ring have been lost, because of remount, there are used Japanese style rings in present.Therefore, this study examines to shape, production technique and analyze component traditional style rings of 19 traditional scroll paintings in National Museum of Korea for restoration of original style. Ring has been recorded official names; Wonhwan(Ring), Gukhwadong(Chrysanthemum shaped ornaments), Baemok(Ring-shaped nail) in Uigwe. Result of an optical microscope (Leica, M205A), Wonhwan has two type of production technique; one is cutting and bending a metal rod and other is cast. Baemok is made to forging process after metal rod or plate by casting alloy. Baemok decoration is metal plate cutting shape, and then decorates it with pattern by using kicking line engraving, chasing and so on. Component analysis result from portable X-ray fluorescence found various metals, such as, brass, iron silver-cooper. Brass based on copper and zinc used rings of 17 scroll painting. Baemok of Yun Sidal portrait is used iron and plated with a tin-lead alloy. Yi Seogu portrait is silver-cooper alloy in whole ring.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.27 no.10C
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• pp.902-911
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• 2002

A wireless ad-hoc network is a collection of wireless mobile hosts forming a temporary network without the aid of any centralized adminstration or standard support services. Wireless ad-hoc networks may be quite useful in that they can be instantly deployable and resilient to change. In this environment, for many crucial distributed applications, it is necessary to design robust virtual infrastructures that are fault-tolerant, self-stabilized, and resource-efficient. For this task this paper proposes a scheme of maintaining robust spanning trees which are little affected by topological changes. By maintaining such a spanning tree and adapting it to the environments with frequent topological changes, one can improve the reliability and efficiency of many applications that use the spanning tree.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.431-437
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• 2012

In today's modern society, since the Industrial Revolution took place, still lots of goods have been produced in quantity. However, human's instinct has been growing bigger and bigger that he or she wants to possess the works or products of scarcity and aesthetic value of a sculpture handmade by craftsmen, not mass-produced with the same design patterns. Accordingly, it is required that an artist be concerned about the value of figuring out and pursuing an individual's lifestyle, his/her needs and inherent desires. Moreover, by means of visualization technique, an artist should provide the public with several scenarios about the future, letting them choose the one they want democratically. Therefore, with the help of Mokumegane technique, one of the traditional metal crafts techniques, which shows certain organic patterns joining different metals, this research aims for the inheritance of traditional techniques and the objective preparation for high-quality crafts market, studying the patterns expressed on the surface of metals, which are hard to find through machines.

• Conservation Science in Museum
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• v.26
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• pp.67-82
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• 2021

Two golden beads (Buyeo 5336) housed at the Buyeo National Museum were discovered in 1993 near the site of an ancient workshop in Neungsan-ri in Buyeo-gun, Chungcheongnam-do Province. These rare examples from the Baekje Kingdom of an application of granulation have maintained their original form intact, and thus serve as important materials for the investigation of production techniques applied. This study analyzed the composition of the golden beads using a portable X-ray fluorescence analyzer, a stereo microscope, and a scanning electron microscope with an energy dispersive X-ray spectrometer. The manufacturing technique was examined through the observation of the micro-shape and the surface condition and by a composition analysis of the joint part. In both beads, a hole was pierced in a hollow body and the bead was decorated with golden wires around the hole and gold granules in other parts. In some areas, golden granules had been attached to the gold plate and golden wires were then placed over the granules. The purity of both the wires and the granules was analyzed as 23.6 - 23.7K. A high copper content was detected in some of the parts where the granules were attached. The findings of a previous reproduction experiment and study of production methods suggest that the beads were made using the copper diffusion technique.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.705-714
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• 2010

This study has the purpose of classifying the types of decoration techniques applied to the Korean traditional costume of modern style which are shown in relevant monthly magazines and analyzing the characteristics of the techniques. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are classified into single and composite types according to decorative components. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, gold and silver foils and embroideries, embroideries and seonchigi or embroideries and stitches is usually used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. More notably, Korean traditional costumes for women shown in monthly magazines released during the period as mentioned above were investigated to find that a part of the women's clothes, that is, skirt was in most cases decorated with brilliant embroideries. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have brilliant patterns on the surface and are commercially available irrespective of season. Consequently, since 2010, flower motive patterns which are important in modern fashion trend will be used in embroideries, gold and silver foils. Additionally, embroideries such as seakdong, applique, drawing made with modern style will be the main stream of new HanBok style.

• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.