• Korean journal of food and cookery science
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• v.29 no.4
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• pp.377-385
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• 2013

The changes in ingredients, seasonings and cooking methods of Japchae in Korean cook books published from the 1600s to the 1960s were investigated in this study. Japchae was a royal dish enjoyed by Kwanhaegun of Joseon Dynasty and interesting historical story is contained in it. Kwanghaegun Ilgi in 1608 showed that Japchae was Kwanghaegun's favorite dish. Therefore, it has been thought that Japchae was created in the 17th century. Wonhaengeulmyojeongrieugye in 1796 described bellflower Japchae and mungbean sprout Japchae. The traditional Japchae was made without glass noodle called dangmyeon. Eumsikdimibang in 1670 first introduced traditional Japchae, which was made with 20 different ingredients and then served with topping sauce made of pheasant broth, strained soybean paste and wheat flour. Japchae in Kyugonyoram(1896) was prepared by mixing mungbean sprout, watercress, gonjasoni, tripe and yukhwe with mustard. The current style Japchae with glass noodle first appeared in the 1920s and became popular in the 1950s because the traditional Japchae was described in cook books until the 1940s. There were two ways of preparing current style Japchae. Yijogungjeongyoritonggo in 1957 described Japchae was made by mixing the boiled glass noodle with other ingredients and seasonings together. On the other hand, Japchae in Urinaraeumsikmandeuneunbeob(1960) was prepared by seasoning first with other ingredients, and then mixing boiled glass noodle. A variety of ingredients - vegetables, mushrooms, meat, fish, pheasant, beef tong, sea cucumber, gonjasoni and pear - has been used to prepare Japchae. Japchae has been seasoned with ginger, soy sauce, black pepper, sesame salt, sesame oil, oil, leek, garlic, salt, sugar, vinegar and mustard. Egg strips, pine nut, thin strips of Shiitake and stone mushroom, red pepper threads, Chinese pepper(cheoncho), black pepper and ginger were used for garnishing.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.91-102
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• 2020

This study examined the apartment sale in lots system from 1960s to 1970s in Seoul from a historical perspective, with the focus on the concept and changes of pre-sale in lots system. By tracing back historical context and application of the system in that period through the analysis of the advertisements for apartment sale, we found out the hidden side of the apartment pre-sale in lots system from the public's point of view, and its impact and meaning on the formation of our current residential culture. In the 1960s and 1970s, the apartment sale in lots system based on the pre-sale in lots system formed strong seller's market and it has been the main reason for imposing the wrong residential awareness that led the public to recognize housing as a means of property growth. Even now, the current apartment sale in lots system remains to be a supplier-oriented one, and lots of people tend to regard housing as investment method. That is, this mechanism is not only still working but one of the fundamental causes of impoverishing our residential culture. It is necessary to reconsider the pre-sale in lots system and the apartment sale in lots system in relation to the public of housing.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Journal of architectural history
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• v.30 no.6
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• pp.33-44
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• 2021

The traditional Korean heating system ondol, one of the most important characteristics of Korean architecture, still remains as hydronic floor heating. Various studies have been conducted on the modernization of ondol, but the process of introducing the hydronic floor heating has not been seriously studied so far. Therefore, this paper aims to demonstrate how the hydronic floor heating had been introduced to Korea, taking the 1950s and 1960s Haengchon, Jongam, and Mapo Apartments for example - these three are regarded as the first Korean apartment houses after the Korean War. While Western advanced construction technology was imported for these apartments, various methods of modernizing ondol were also considered. What was remarkable in these attempts is that hydronic floor heating first appeared in Mapo 1st Apartment in 1962, because this is the universal heating method in the present Korea. This fact signifies that the traditional principle of floor heating has been maintained, and it would also be meaningful in terms of architectural exchanges between East and West, if considered along with Wright's application of the Korean heating principle to his houses since 1930s.

• Journal of Korean Association for Spatial Structures
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• v.9 no.2
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• pp.65-75
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• 2009

For the large space buildings since 1960s in Korea spanned more than 30m, the establishment feature and the development process were examined. As the Results, physical facilities with 40-70m span were mainly established in 1980s-1990s, but large scale convention centers have been establishing after 2000s as the used of large space buildings are varied. Also, a space frame has been generally used in 1980s while the unique structural shapes were builded in the early age(1960s), the structural design with concerns a form and using various structural systems have been attempting after 2000s.

• Journal of the Korean Society of Food Culture
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• v.37 no.2
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• pp.119-132
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• 2022

The purpose of this study is to examine the changes in the Masan region's restaurant industries from the late 1960s to the early 1980s. Within this period, there were 1,597 numbers of restaurants found in 'Masansanggongmyeonggam'. During the same period, 313 restaurants appeared in the 'Gyeongnamsinmun' restaurant advertisements. The characteristics of the restaurant industry in Masan during this period are as follows. In Korean food, meat menus such as 'Bulgogi' became popular, and local foods such as 'Masan Aguijjim', 'Kkosirak', 'Hoebaekban', and 'Jinjubibimbap' were commercialized. Due to the government's 'Punshik Changny-ö' policy, the flour food became popular and the number of Chinese restaurants rapidly increased. New western foods were also introduced, such as hamburger and pizza. Grilled whole chicken at 'Yeongyangcenter' became popular, and the emergence of 'Food Department Store'. These new changes were introduced so quickly that there was almost no time difference with the metropolitan area, and it is thought that this is because the young people who moved in as the Masan area was industrialized actively accepted the new changes.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.5
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• pp.801-816
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• 1996

The study is in depth an analysis of the consciousness structured in unisex, androgyny, punk and postmodernism fashion in order to explain the dominant bisexual trend in fashion since the 1960's. Bisexuality in fashion can be interpreted as an effort in recovering the attitude within commentarialism, as opposed to the dichotomous split of the sexes. It is a reflection of the fundamental desire to be as one and implies "freedom" as an expression of feminism and postmodernism furthermore. Bisexuality is a reactionary movement in fashion which encompasses adaptive ways to the world we now inhabit. It is also a clear picture of the necessity of destroying the dichotomous sexuality in order to achieve the freedom and the importance of realizing as a whole the oneness of human kind. Bisexuality in fashion primarily is the pursuit of a new perspective on the human entity required in the modern world. Namely a communitarian spirit devoid of sexual prejudices. And secondly, it is a phenomenon reflecting the transitional woes of the pluralistic society experiencing deconstructivism and reconstructivism.ructivism.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.149-165
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• 2012

This study is to understand the characteristics of women's Hanbok fashion in the modern Korea by investigating the features of colors and color arrangements of remaining relics. The summary of findings from the researches and analysis from over 1840 pieces of Hanbok relics in modern Korea are as follows: First, since western-style cloth were introduced and utilized for Hanbok from 1960, the number of colors have drastically increased. However, the most commonly used colors and parts throughout all the periods remained the same. These are Y, R and white colors for Jeogori and Y, R and PB colors for Chima. And, as for the representative color of each of the six periods, significant changes of color were found Jeogori in the 1960~1970s. While no clear color changes were found in the period prior to the 1960s and after the 1980s. Secondly, as for the color tones, although the high luminosity-low chroma were generally used over the periods, it was observed that various colors of low luminosity-high chroma began to be used from 1960 and so Jeogori became more colorful. And lastly, Y and white color were taking up the highest percentage in the solid color arrangement. When composing 2 colors, the Y tone color dominants with R tone as sub-color was the most prevalent, and when 3 and 4 colors were combined, the extra color were increasingly seen in the upper garment cuff and collar so that the arrangement of different colors increased the aesthetic symbols when combined with the colors of the Chima.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.222-229
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• 2010

I study how the deviation of strong women clashes with patriarchism and the clash is represented in the films. Women of Spirit's in 1960's narrative deals with the generational conflicts and the older's defeat, and that reflects the changes of the times. The narrative of Horse-year Bride in 1960's deals with changes of housewives' status, deviation and return of the strong-willed women, and becoming 'a wise mother and good wife'. The Daughter-in-Law Born in the Year of Horse in 1970's has two meanings - rejecting the active women and reinforcing patriarchism. The narratives of these films mean the obedience to patriarchism and the punishment women for their activity. But, these films also show the pleasure of resistance by revealing the gap and the contradiction of patriarchism.