• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.4
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• pp.105-117
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• 2004

The Pasadena Freeway follows the Arroyo Seco through foothills and scenic passes to link Downtown Los Angeles with Pasadena. The approximately 10 mile road was the first freeway built in the West during the 1930's and is today designated as a Historic Parkway. As it approaches Pasadena, it terminates at a traffic light intersection at Glenarm Street, and then becomes a commercial road the Arroyo Parkway. This one and a quarter mile long, north south road moves significant volumes of traffic both into and out of Pasadena. The Arroyo Parkway is thus a major 'gateway' and an important axis of orientation and movement, terminating in the City's core civic, commercial and retail district. Planting, lighting, signage, paving, furnishing and fixtures ought to all be properly designed and coordinated to create a distinctive 'gateway' experience arriving to Pasadena and driving along the Arroyo Parkway. Alternate design studies, developed in discussion with City officials and others involved in the redevelopment of the area, would need to be done to properly decide on the best direction. Issues of heritage and traditional streetscape will likely have to be reconciled with both the reality of the vehicular character of the road and more contemporary themes. Obviously with such large parcels of property available in the Arroyo Fair Oaks corridor, there is a huge potential for redevelopment and building. This potential would only be strengthened by the Light Rail Line and its stations, the improvements to the Arroyo Parkway, and the redevelopment of the Arts Center College of Design. Guides and controls to the development process, including programming and physical design studies, would need to be developed in order to ensure that the maximum potential for the corridor be realized. This concept proposal suggests that the whole strip might be developed as a Arts and Technology corridor, with special emphases on education, public culture, media and lifestyle. The full programming possibilities need to be further developed. Additionally, appropriate urban design guidelines to ensure high quality development also need to be incorporated into an overall development plan.

• Journal of Fashion Business
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• v.19 no.5
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• pp.110-127
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• 2015

This study probed into the fashion styling of modern girls who led fashion and revealed power of woman as the center of modernization in Korea. Methods included the theoretical study based on fashion related newspaper articles at the time, specialized publications, advance researches, and internet data and the empirical study that involved contents analysis centering on visual data, expert evaluation, and styling development and presentation. The image of Korean modern girl analysis found in the order of modern image, elegant image, classic image, mannish image, romantic image. The aesthetic characteristics could be classified into sensual classicism, modern elegance, feminist epicenism, and romantic simplicity. The theme was 'Retro Modern' and a total of 4 styles were applied. 'Progressive Tradition' expressed the aesthetic characteristics of sensual classicism and it gave a modern reinterpretation of the seamless one-piece skirt which is the modified Korean clothes of Korean modern girls. 'Luxe Beauty' expressed the aesthetic characteristics of modern elegance, and it developed the long and slim style which was popular in the 1930's in a trendy way. 'Dressy Avant-garde' expressed the aesthetic characteristics of feminist epicenism, and it suggested the mannish style Western clothes that Korean modern girls wore by following recent fashion trend. 'Minimal Couture' expressed the aesthetic characteristics of romantic simplicity and it presented the garçonne look which was popular in the 1920's by following recent trend.

• Journal of Physiology & Pathology in Korean Medicine
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• v.25 no.1
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• pp.19-28
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• 2011

More than 30,000 Wooden Slips were excavated in the Juyan region in 1930s and 1970s. These slips recorded military actions of Juyan Frontier Fortress during Han dynasty, which is about BC 100 ~ AD 30. On the slips, there are many disease names and symptoms mentioned. We focused on a certain disease name, namely, Shnaghan(傷寒; injured by cold), which is the main subject of Shangha-lun(傷寒論). Looking closely into these Juan Wooden Slips, we found many articles recording Shanghan, including related diseases and symptoms, such as Shanghan(傷汗; injured by sweat), headache, fever and chills, immobilization of limbs, unacceptance of foods. And there are another Shanghan-related symptoms, such as inflation of upper-abdomen(心腹支滿), pain of upper abdomen(心腹痛), strain of both armpits(兩胠葥急), inflation of chest(胸脇支滿), tightness and fear in the chest(煩滿). Although they have no direct relationship with Shanghan, there are many symptoms, including the external wounds of waist, finger, thigh, back, breast and head, abscess of leg and elbow, sore throat, itching, leucorrhea, powerlessness of hands and legs(手足癃), visceral injury(傷臟), tinnitus, cold, warm and heat. Because the Wooden Slips are very short, with some characters even missing, we can not confirm the detail of the disease and symptoms. In addition, we will report about the herbal medicines and other treatments, which are recorded on the slips, by further research.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.3
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• pp.1-8
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• 2016

Frank Lloyd Wright(1867-1959) had the confident concept that architecture should be at home in nature. His architecture was meant to bear an intimate relation to the earth and the sky, and should look as though it began there at the ground and contrasted with the sky. In handling all the details of house design elements, his efforts for being married to the ground was to conceive the void of the sky. This study is to research his thinking process and its development to the earth and the sky, and to analyze how such thought could reflect his houses. The mass of house are divided into three parts such as the foundation or base, body, and roof. These parts are respectively related to the earth and the sky. This study goes on regarding them as an analytical framework. The subjects of study are the Prairie houses in the early 20th century and the Usonian houses after 1930's. As results of this study, the earlier foundation as a platform appeared as a base and water table, and a strong baseline pressed the structures into the soil in the Prairie houses. The direct contact of wood and brick to ground were dominant details after Wiley house(1934). The base was almost invisible to the eye in the Usonian houses. Secondly, the pierlike shapes and delicate friezes of walls were anchored to the ground, and horizontal bands as trims or copings also got close to the earth. These characters had disappeared after the Allen house(1917), all components including exterior walls had been unified with the grid patterns in the Usonian houses. Thirdly, the overhanging cantilever roof had got to the earthbound by the reflection of shadow as well as their evident horizontal. He lowered the roof, lengthened and brought it closer to the ground. In this way, Frank Lloyd Wright intended his houses to be at home in nature. And also he tried to bind the houses to the earth and contrasted them with the sky. The houses would perform their highest function in relation to the earth and sky.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.

• Cross-Cultural Studies
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• v.38
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• pp.7-28
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• 2015

This article considers Chunhyanjeon written in Japanese by Jang Hyukju in 1938. His Chunhyangjeon was presented from among the collusion and crack of 'things Japanese' and 'things Chosun' discussed in Japanese literary world in the 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905~1997) became known to Japanese literary world by the second grade nomination of the prize contest of the magazine Kaizo in 1932. Since then, he worked actively in the Japanese literary world by writing novels in Japanese and introducing the literature of Chosun. Thanks to his activity, the literature of Chosun drew attraction from the Japanese, which can be called 'boom'. Jang Hyukju was in the middle of this boom. So, his text presented the collusion and crack of empire and colony. We can make sure this issue from his play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose of writing. He intended to write modern play in new literary style. Chunhyangjeon was surely the material of things traditional Chosun, which was corresponded to the demand of Japanese literary world. Through the story of Chunhyangjeon, however, he formed the modern text style. He wrote in standard Japanese language, and described things from the perspective style which is often used in modern novel. And he renewed the character characteristically and arranged the structure of the play. His writing style showed clear distinction in the comparison to Chunhyangjeon written by You Chijin which was presented in Korean language 2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificity as a district of Japan. But on the other hand, a new literary method of modern realism was tried. Chunhyangjeon written by Jang Hyukju shows the cross penetration of empire and colony. And in his Japanese-language literature, the literature of Chosun is coexisting and playing variation.

• Acta Via Serica
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• v.3 no.2
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• pp.181-196
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• 2018

In Turkey, academic studies on Korea are mostly focused on the Korean war and Korean language and literature. Conversely, in Korea, it seems that academic studies are largely focused on old Turkic history and Turkish language and literature. Unfortunately, on both sides, there is not a satisfiying number of studies on the Turkic diaspora in Korea. However, it is a reality that there was a Turco-Tatar group that lived in Korea at the time of the Japanese occupation between the two world wars. This group became Turkish subjects after World War II and became a bridge between Korea and Turkey. After the Russian revolution, around 1919, some Turco-Tatar groups like the Bashkir and the Misher emigrated to East Asia like the Manchuria region of China and Korea. Beginning from the 1920s, some families moved to Japan, but a group of Turco-Tatar stayed in Korean cities like Seoul (Keijo), Pusan and Daegu. The Turco-Tatar groups of East Asia established schools and mosques in Seoul, Korea; Harbin, Manchuria; Kobe, Nagoya; and Tokyo in Japan. A Moslem printing house (Matbaa-i ${\dot{I}}slamiye$) was also established in Tokyo in the 1930s. Many books, a newspaper and a magazine were published by this printing house. The name of the magazine was Yanga Yapon Muhbiri(New Japanese Courier), and it survived between 1931 and 1938. In this magazine, there were many interesting news and data about Korea and the Turco-Tatars of Korea. In this short article, we will try to bring out the importance of this magazine by giving samples of the articles which were written on the Turco-Tatar diaspora in Korea.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.4
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• pp.25-35
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• 2023

According to this study, it is estimated that the ILDU historic house was constructed around the late Goryeo period, approximately in the year 1360, and the founder moved to Hamyang no earlier than 1350. The main house, the inner store-house, the inner gatehouse, and the ancestral shrine, which are situated on elevated ground, were initially constructed around 1360, and substantial expansions and renovations occurred around 1620. The shrine was relocated and reconstructed in its present location and form around 1843. Subsequent to that period, it underwent various architectural changes, including repairs and reconstructions. The sub-main house was originally constructed around 1620 and underwent a reconstruction in 1843. The main storehouse was built in 1930. Also, the man's part of house, located on lower ground, was erected in 1843, while the other sub-main house seems to constructed around 1860. The auxiliary buildings, the main gatehouse and the outer storehouse, were initially constructed around 1360. It is estimated that they were similarly relocated and reconstructed in their current form, along with the construction of the man's part of house in 1843. It has undergone a four-stage transformation process, influenced by various internal and external factors, including the local indigenization of the ILDU families of the same clan, as well as the popularization of Confucian ideology. These four stages include its formative period, growth phase, developmental stage, and maturity. It actively incorporated the contemporary factors of change into its residential architecture. This continuous adaptation is evident in its the space and floor plan, ultimately leading to its present-day architectural legacy.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.23-39
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• 2004

The Bolshevik Revolution of 1917 resulted not only in the establishment of the Socialist regime, but also in the critical changes in the Russian archival system. The Soviet government issued "Decree On the Reorganization and Centralization of Archival Affairs in the Russian Socialist Federated Soviet Republic", which prepared the ground for the archival administration in USSR. After having been revised and supplemented in the 1920's, the decree, signed by V. I. Lenin, was changed into "The Decree on the Archival Administration of Russian Soviet Federated Socialist Republic", by which the Bolshevik government was able not only to develop the conception of the State Archival Fond with the Single Archival Fond, but also to enlarge the archival collection. Besides, it was remarkable that the archival decree of 1929 provided the justification for actual developments of the archival institution. And from the practical point of view, the decree improved the archival affairs by means of the defining of the conservation period. It was at the beginning of the Stalin's period that the decree of 1929 was issued. Therefore, it may be said that the decree was one of the proofs as well as the agricultural collectivization and the industrialization that Stalin gained the overall control of the Soviet government. It was confirmed when the Second Conference of Soviet Archivists was held from 25 May to 1 June in 1929. After this meeting, M. N. Pokrovskii, who was the director of the Archival Administration in the course of the 1920's, lost the influence over the Soviet archival organizations, which meant that the autonomy of the Soviet archivists was reduced in a great degree. The Central Archival Administration of the Bolshevik regime experienced the analogous changes. It was changed into the Central Archival Agent in 1929 when the Stalinist system became strengthened. At the same time, it was significant that the Central Archival Administration of USSR was established. However, the Soviet archival affairs became under the direct control of the N. K. V. D. in the period of the Great Purge.