• Journal of agriculture & life science
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• v.46 no.6
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• pp.87-96
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• 2012

This study was performed to analyze the preference about horticultural activities and plants which is the basis of the horticultural therapy program development in prisoner who release from prison is expected. The analysis show that respondents were the most in male, thirty, less than high school, fraud, Christianity. More than 70% of respondents recognize that providing horticultural therapy for correction and rehabilitation program was desirable. More than 60% of respondents want to participate in the horticultural therapy for correction and rehabilitation program. Respondents who hadn't have experience for horticultural activities were the most, they preferred 'Plant appreciation such as walking, field trip, journey' mostly, and then 'Plant cultivation at indoor and outdoor', 'Decoration and craft with plant'. The most preferred plant was ornamental plant, and orchid in ornamental plant, fruit vegetable and tomato in fruit vegetable.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.186-196
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• 2018

Sports has become one way to improve our own health and to enjoy life by changing the lifestyle of modern-day people. Sports athletes not only give pleasure to the public, but also play a role in elevating a nation's reputation through sports. Tennis is popular with the public, and women players receive tennis wear from various sports companies to promote the designs to the public. This study considers the design-related characteristics of women's tennis wear through content analysis of design elements from the tennis wear in four major tournaments over the most recent five years. This is important in order to provide basic data on design directions for tennis wear in the future. The results of this study are as follows. First, the silhouette plays a role in enhancing activity by considering the physical movement of tennis players who are very active. Second, color emphasizes the rules and clarity of traditional tennis tournaments, and reflects a diversified trend in tennis wear by considering smooth game play by players and combining popular colors in the year. Third, patterns and decorations on material are used as a means to emphasize the esthetics of tennis wear, and tape plays an auxiliary role in emphasizing the physical beauty of women or preventing physical movement causing injury. In addition, sponsor logos are generally located at the center of the chest of tennis wear tops by mixing letters and images. This can be interpreted as a part of the marketing strategy to enhance clarity of the sponsor's brand.

• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.41-53
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• 2017

This study was performed to determine what the plant material were selected to reflect in the 2016 Korea Garden Show designer's garden. It was analyzed that plant material was used to display the theme of the garden and to create a specific space. Under the given theme of 'K-Garden, Shinhallyu Garden(new style garden culture) with the most Korean taste', the plants were used to highlight the theme in two types: 'representation' and 'expression'. There were two 'representation' gardens that imitate a particular space of Korean taste and four 'expression' gardens that showcase the designer's thoughts with abstract concepts and concrete objects. Three gardens included both types of garden. The way of revealing the subject with plants was used more for 'expression' than for 'representation'. There were eleven spaces for 'representation' of the Korean taste, a vegetable garden, faucet, pond, field, nature, a Hanok court garden, groves of bamboo, tile roof, stone wall, rock and backyard of a Hanok connected to the mountain. The planting material was used in two ways: reflecting only the ecological characteristics of the plant, and considering the ecological and visual characteristics together. Vegetation plantings reflecting the ecological characteristics were observed in all eleven spaces. Nine of the spaces reflected the growth environment of the plants, but the other two did not reflect the ecological characteristics of the plants, unlike the designer's intention. In the case of the four spaces that considered the ecological and visual characteristics together, color and size were considered visual characteristics. The plants in the seven spaces that included 'expression' as the theme were selected to reflect the visual characteristics in the order of color, shape, texture, and size, rather than reflecting ecological characteristics. A group planting method was applied. When the plants were used as materials for creating space, Norman(1989) analyzed three enclosure factors(overhead, vertical, ground plane). Only two deciduous trees were used in the overhead plane while five species of evergreen shrubs and thirty species of various deciduous plants were used in the vertical plane. There were forty-five species (nine trees and thirty-six herbaceous plants) forming the ground plane, and various herbaceous plants were utilized without duplication in each garden. The designer's garden of the Garden Show played a role in introducing new groundcover plants to the public. Three of the nine gardens did not include ornamental plants, and the use of decorative plants in other gardens was few compared to the number of plantings. In the Korea Garden Show designer's garden, most of the plants were being used with the intention of exposing the theme or architectural uses. In the 2016 Korea Garden Show designer's garden, many species of plants were used as materials for showcasing themes rather than for creating spaces. Also, the method of 'expression' was used more than the method of 'representation' in order to highlight the theme. This indicates that the planting materials reflect visual characteristics such as color, shape, texture, size rather than ecological characteristics.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• Journal of Gifted/Talented Education
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• v.22 no.3
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• pp.619-637
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• 2012

The purpose of this study is to develop a new program for elementary math-gifted students by using 'Girih Tililng' and apply it to the elementary students to improve their math-ability. Girih Tililng is well known for 'the secrets of mathematics hidden in Mosque decoration' with lots of recent attention from the world. The process of this study is as follows; (1) Reference research has been done for various tiling theories and the theories have been utilized for making this study applicable. (2) The characteristic features of Mosque tiles and their basic structures have been analyzed. After logical examination of the patterns, their mathematic attributes have been found out. (3) After development of Girih tiling program, the program has been applied to math-gifted students and the program has been modified and complemented. This program which has been developed for math-gifted students is called 'Exploring the Secrets of Girih Hidden in Mosque Patterns'. The program was based on the Renzulli's three-part in-depth learning. The first part of the in-depth learning activity, as a research stage, is designed to examine Islamic patterns in various ways and get the gifted students to understand and have them motivated to learn the concept of the tiling, understanding the characteristics of Islamic patterns, investigating Islamic design, and experiencing the Girih tiles. The second part of the in-depth learning activity, as a discovery stage, is focused on investigating the mathematical features of the Girih tile, comparing Girih tiled patterns with non-Girih tiled ones, investigating the mathematical characteristics of the five Girih tiles, and filling out the blank of Islamic patterns. The third part of the in-depth learning activity, as an inquiry or a creative stage, is planned to show the students' mathematical creativity by thinking over different types of Girih tiling, making the students' own tile patterns, presenting artifacts and reflecting over production process. This program was applied to 6 students who were enrolled in an unified(math and science) gifted class of D elementary school in Daejeon. After analyzing the results produced by its application, the program was modified and complemented repeatedly. It is expected that this program and its materials used in this study will guide a direction of how to develop methodical materials for math-gifted education in elementary schools. This program is originally developed for gifted education in elementary schools, but for further study, it is hoped that this study and the program will be also utilized in the field of math-gifted or unified gifted education in secondary schools in connection with 'Penrose Tiling' or material of 'quasi-crystal'.

• 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.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.