• 한국조경학회지
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• 제45권4호
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• pp.11-22
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• 2017

광장은 도시의 정체성을 드러내는 공간이다. 광화문 광장과 서울 광장은 시민의 의견을 자유롭게 표출하는 대표적인 광장이다. 서울 도심 내 주요 광장들은 근대 도시계획이 시행된 일제강점기에 그 형태가 완성되었다. 그중에서 조선은행 앞 광장은 현재까지 '광장'이라고 부르지만, 광화문 광장이나 서울 광장과는 다른 특성이 있다. 일제강점기에 행정, 경제, 문화의 중심이었음에도, 이 광장에 대한 연구는 미진하다. 본 연구는 조선은행 앞 광장의 생성 과정과 변화를 통해 광장의 특성을 파악하고자 한다. 연구 결과, 첫째, 조선은행 앞 광장은 토지 매입과 설계 공모를 통해 완성된 기획의 결과물이다. 1910년대에 총독부가 도로의 폭을 넓히는 과정에서 조선은행 앞의 일곱 필지를 매입하여 광장의 공간적 기틀을 마련했다. 1930년대 후반에는 교통의 원활한 흐름을 위해 순환식 회전교차로 시스템이 도입되고, 설계 공모를 통해 분수대를 설치하면서 현재의 광장형태가 완성되었다. 광장으로 기획되었으나, 점차 로터리로 변화했다. 둘째, 조선은행 앞 광장은 일제의 권력과 근대성을 과시하는 랜드마크이자 상징 광장이다. 자동차 중심의 교차로와 대형 분수대는 초점 경관을 형성했다. 서양식 대형건물로 둘러싸인 공간을 중심으로 상업 광고와 네온사인이 설치되었다. 조선은행 앞 광장은 당시 근대 도시문화를 체험하는 첨단의 공간이었다. 지배자의 권력을 과시하는 스펙터클한 경관은 경성의 대표 이미지로 소비되었지만, 피지배자에게는 낯설고 소외된 경관으로 인식되었다. 본 연구는 조선은행 앞 광장 자체에 집중하여 생성 과정을 추적하였고, 그 특성을 고찰했다는 점에서 의의가 있다. 서울의 도시변화와 함께 정치 경제적 여건을 반영한 공간 연구에 대해서는 향후 연구과제로 남긴다.

• 복식문화연구
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• 제4권2호
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• pp.113-124
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• 1996

This research was designed to find out what is a distictive feature of the design elements of Korean women's costume and its influence by analizing the trend of Korean women's constume during the period of 1890 and 1995. The research was analized by a total of 854 random samples of clothing styles collected from materials in the museums and from articles of three leading newspapers and one of the best women's magazines in Korea. The changing trend of Korean women's costume was found out to be as follows: 1. In around 1910s, the trend of Korean women's costume has been changed into two-tier structure of both Korean and Western styles, and the typical and traditional Korean women's street wears such as 'Chang-ot' and 'Tsdechima' have been gradually diminished. 2. From 1920s, length of the Korean skirt, which was unnecessarily long and inconvenient, has been getting shorter for the convenience of walking. In addition, Korean women's underwear has become simplified, and sports wear could be seen for the first time in Korea. 3. During 1960s, the Western clothing styles have been increased rather than Korean styles as the street wear of the Korean women. 4. In 1970s, blue jeans, mini-skirts and casual wears have become a trend or fashion for women in Korea. 5. In 1980s, a fashion of unisex mode has arrived in this country, and from the year of 1987, wearing of panties among the Korean women has been increased rather than skirts wearing for the street wear. 6. During 1990s, various forma of complex styles came into being in such styles as so-called 'orange class style,' 'protruding navel T-shirts' and 'runner wear speedy.' From mid-1990s, Korean women have turned out to prefer the cute and light costumes by placing emphasis on the image of intellectual, professional and functional wears. The changing special feature of the Korean women's clothing designs could be distinctively observed during 1960s as the modernization policies in Korea have been processed during the period. The clothing trend before 1960 was to change and to solve problems of inconvenient and impractical wears, but the trend after 1960 was seen as a change to confirm a trend of the world fashion. From mid-1990s, however, preference of Korean women's self-conceited conception socially and an unquestionable changing pattern of Korean women's life.

• 복식
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• 제55권2호
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• Journal of Microbiology and Biotechnology
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• 제30권3호
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• pp.359-367
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• 2020

Neurodegenerative disorders in the elderly are characterized by gradual loss of memory and cognitive function. Oxidative stress caused by reactive oxygen species is associated with progressive neuronal cell damage and death in Alzheimer's disease, one of the most common neurodegenerative disorders. An edible brown seaweed, Ecklonia cava, contains a variety of biologically active compounds such as phlorotannins. In this study, we comparatively evaluated the total phenolic content, antioxidant capacity, and neuroprotective effects of the phlorotannin-rich extract from E. cava (PEEC). The total phenolic content of PEEC and dieckol was 810.8 mg gallic acid equivalents (GAE)/g and 996.6 mg GAE/g, respectively. Antioxidant capacity of PEEC was 1,233.8 mg vitamin C equivalents (VCE)/g and 392.1 mg VCE/g determined using ABTS and DPPH assays, respectively, while those of dieckol were 2,238.4 mg VCE/g and 817.7 mg VCE/g. High-performance liquid chromatography results revealed 48.08 ± 0.67 mg dieckol/g of PEEC. PEEC had neuroprotective effects in pheochromocytoma (PC-12) and human neuroblastoma (SH-SY5Y) cells against H₂O₂- and AAPH-induced oxidative damage, partly due to reduced intracellular oxidative stress. PEEC treatment inhibited acetylcholinesterase and butyrylcholinesterase in a dose-dependent manner. Taken together, these findings suggest that PEEC is a good source of antioxidants and neuroprotective materials.

• 복식
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• 제10권
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• pp.5-16
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• 1986

This dissertation is a study of the costume of the Yi dynasty by means of an investigation of the Ka-rae-do-gam-Eui-gue Do(嘉禮都監儀軌圖: a collection of paintings of the royal wedding ceremonies and processions issued by the royal court) and the Jung-ri Eui-gue Do(整理儀軌圖: a collection of a series of paintings showing the whole process of the royal courtesies and ceremonies on the occasion of the king's visit to Hyun-yoong Won in Hwa-sung in 1975年). The Yi dynasty period is roughly divided into two parts. The first period extends from 1392, in which the reign of the dynasty started, to 1600, when Imjin Waeran(the Japanese Invasion of Korea) ended; the second period lasts from 1600 to the last day of the dynasty in 1910. Of the "Eui-gue Do"(儀軌圖: paintings of the royal ceremonies) which were made in the first period of the dynasty, there is no extant example, the reference to which is found only in records. However, the examples of the "Eui-gue Do" belonging to the second period remain abundant in number, together with the detailed accounts about them. The followings are the conclusions deduced from this study, which tries to illuminate the pictorial characteristics as well as the traits of costume manifested in the above-mentioned two groups of paintings. Most of the costume seen in the Ka-rae-do-gam Eui-gue and the Jung-ri Eui-gue were not clad in accordance with the wearer's individual desire or taste, but in strict conformity with the norm and sense of order in the society based on the Cosfucian political and ethical principles.

• 한국지역지리학회지
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• 제9권4호
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• pp.437-460
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• 2003

통일신라시대의 서원경성의 위치는 청주읍성 지역이 되고 있다. 청주의 매장 문화재인 남석교는 신라 진흥왕 19년 무인년(588년)에 수선했다는 기록으로 보아 남석교의 원조는 그 이전으로 소급될 수 있고 그 후에 수차에 걸쳐 개축되었다는 사실도 알 수 있다. 조선시대 청주읍성의 남북 주축도로는 남문을 통과하고 있고 남문 밖의 시장의 발달로 인하여 남문 밖의 무심천에 위치한 남석교의 역할은 지대할 수밖에 없다. 남석교에서 유래된 대교천의 명칭은 조선 철종 12년(1861년)까지는 대교천으로 불렸고 고종 8년(1871년)에는 무성천으로도 불렸으며 광무 2년(1902년) 이후에는 무심천으로 부르게 되었다고 짐작된다. 청주는 풍수지리와 무심천의 지명유래 등으로 부정적인 이미지를 지니기도 하였지만 점차 긍정적인 이미지로 변화되고 있다. "남석교 사적비"는 1907년까지는 존재하였지만 "표석"과 더불어 유실되었고 "남석교"는 $1931{\sim}1932$년 간의 석교동 제방공사 때문에 매몰되었으며 이러한 문화재들은 가치가 매우 크므로 복원되어야 할 것이다.

• 복식문화연구
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• 제28권1호
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• 복식
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• 제31권
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• pp.189-202
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• 1997

Movie is one of the most popular culture ac-tivities in modern society and the composite rt of science and art born in the 20th century. Movie became the great source of setting the fashion. Especially movie costume brought into relief and was accepted by the mass. As a movie stimulates imitation psychology and identification of the general public in fashion. The purpose of this study is to analyze the effects of the movie costume to a modern mass fashion. The times was defined the movies from the early Silent era to the modern Hollywood movie from the late of 1910 to 1990. The way of study were to analyze on the changes and roles of movie costume through documentary records and the influence of set-ting the fashion to the mass fashion and classi-fied it five times-silent era classics neo-classics new look and modern times. The summary of result is as follows, 1, Movie costume affected the dress and the fashion of women is Silent era. That fashion was accelerated by actors' costumes in the mode of 1920. 2. Holloywood movies in the Classics show the essence of the fashion movie costume played a role of a fashion leader and commanded the trend of mass fashion. 3. Practical style was shown because of the war in the Neo-classics. Movie industry was prosperous after the war. But the consequences of the movie costume to the mass fashion were more and more weaken 4. Couture designer's costume had an effect on the mass fashion in the early of New look. But it was behind the fashion for the rise of young fashion. 5. The tastes of the fashion were diversified in Modern times. So the movie fashion was not imitated or popular. The costume of "Pret-a-porter" was used in the movies in the 1980. Spectators became to wear the same style of the actors. The times fashion and movie interacted each other. Movie costume is playing a role of a fashion leader guiding the mass fashion.s fashion.

• 한국실내디자인학회논문집
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• 제25권4호
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• pp.35-42
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• 2016

The purpose of this study is the analyze the spatial structure and housing component of the prairie style house of Frank Lloyd Wright during the Prairie Era which is between 1893-1910. The research results can be summarized as follows 1) In spite of European style influences which were fashionable at the time, Wright tried to attempt altering the space and form of his works (houses) from his unique architectural style. 2) All solid walls which are usually inside the square prairie and the cross floor plans were removed for interaction between the outside and inside spaces in a house creating an organic space. So the inside space of the house feels wider than the original space because of the available natural light. 3) Frank Lloyd Wright's early works were similar to the homes built at that time. However, as time passed, he remembered and was influenced by the Frobel's educational system blocks he played with as a child as well as the surrounding Midwestern USA prairies where he grew up. 4) The early prairie floor plan was square divided into nine equal parts which is classic floor planning. Wright, however, created his new unique architectural style. His style has developed into the prairie style and various floor plans. 5) Wright introduced a 3-dimensional architectural form of composition (cantilever, long eaves, etc.) to express symmetry and horizontal lines of the house. 6) Rather than emphasizing vertical lines in his works, Wright began emphasizing more horizontal lines like the horizontal lines of the actual prairies. This meant the surrounding environment of a house is always in nature.

• 복식
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• 제27권
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• pp.163-171
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on he past costume is getting more importance and as the methodology of the study the accurately ap-proached study through the rehabilitation of the past costume is more needed than the simple re-arrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The S-line silhouette remains be-cause of the straight silhouette or the blossom style bodice. This dress has various types of sil-houette but generally it forms one silhouette and is one-piece. 2) color and Material: The material varies hile the color is divided as the main color of ivory and the stress color of brown. This shows not only that the material has been varied but also that they tried to reduce the monotony. 3) Pattern and Sewing: The simple external figure and the previous stage typically shows the movement to the simplicity of the contemporary and the num-ber of patterens is plenty and the sewing method is also complex. 4) Detail. To overcome the simplicity of the style and to show the characteristics of the afternoon dress the skunk fur the net the sash, and the bow are used. 5) Structural Characteristics: The front open-ing the back opening and the side opening coexists in one-pieced dress and this forms unique structure and complex fastening device. The ribbon tape and casing not only finish the seam but also fix the shape of the dress. Synthetically the 1913-14 afternoon dress has the characteristics of transitional stage in which the characteristics of the costume of 1910s and the remnants of the characteristics of the pre-vious costume style and shows the character-istics of afternoon dress well in terms of the ma-terial the structure and the detail.