• Journal of the Korean Academy of Esthetic Dentistry
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• v.24 no.1
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• pp.13-24
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• 2015

With the development of treatment of hard and soft tissue around the implants, the implant restoration is increasingly used in the maxillary anterior region which is very important aesthetically. However, the aesthetic reconstruction of the maxillary anterior region is still challenged. Three following conditions should be fully satisfied for aesthetic prosthesis restoration; reconstruction of hard tissue, soft tissue and harmonic prosthesis. In this case report, hard and soft tissue augmentations were performed at atrophied maxillary incisor. Additionally, customized impression coping and provisional restoration were used to make the final restoration.

• Archives of Craniofacial Surgery
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• v.17 no.2
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• pp.77-81
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• 2016

Background: Asymmetry of the infraorbital rim can be caused by trauma, congenital or acquired disease, or insufficient reduction during a previous operation. Such asymmetry needs to be corrected because the shape of the infraorbital rim or midfacial skeleton defines the overall midfacial contour. Methods: The study included 5 cases of retruded infraorbital rim. All of the patient underwent restoration of the deficient volume using polyethylene implants between June 2005 and June 2011. The infraorbital rim was accessed through a subciliary approach, and the implants were placed in subperiosteal space. Surgical outcomes were evaluated using preoperative and postoperative computed tomography studies. Results: Implant based augmentation was associated with a mean projection of 4.6 mm enhancement. No postoperative complications were noted during the 30-month follow-up period. Conclusion: Because of the safeness, short recovery time, effectiveness, reliability, and potential application to a wide range of facial disproportion problems, this surgical technique can be applied to midfacial retrusion from a variety of etiologies, such as fracture involving infraorbital rim, congenital midfacial hypoplasia, lid malposition after blepharoplasty, and skeletal changes due to aging.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.25 no.1
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• pp.50-63
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• 2016

Successful treatment in the anterior esthetic prosthetic can be a balance between aesthetics in the facial, tooth, and periodontal tissue in the oral. In the case of facial symmetry of patients with normal occlusal plane, If you establish criteria of finding balance of aesthetics such as a several books and articles and manufacture a prostheses by the established-criteria, you can manufacture a harmonious and aesthetic prostheses without any trouble. However, in the case of patients with facial asymmetry, if you manufacture a tooth as patient's facial aesthetic symmetry by force even facial asymmetry case, you can't get a result not only aesthetic but also functional prostheses. Also, to produce the prosthetic of harmonious and aesthetic with periodontal tissue, and excellent self-cleansing function, you must apply to the form of the prosthetic changed dental environment.

• Journal of Korean Philosophical Society
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• v.144
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• pp.113-140
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• 2017

In this work we start from the thesis that Schiller's Aesthetic Letters contains two different doctrines of aesthetic education. When Schiller first raised the need of aesthetic education in his 1793 letters to Friedrich Christian von Augustenburg, he wanted to show that the taste for beauty contributes to morality and emphasized that man could reach pure reason only by way of beauty. When he revised the original letters and published them in 1795, he added some important parts concerning beauty as the condition and idea of humanity and the following arguments about 'aesthetic condition.' These added parts emphasize the harmony of reason and sensibility in beauty and the restoration of totality in 'aesthetic condition.' We examine the meaning and implications of 'aesthetic condition' in comparison with Schiller's 1793 doctrine of 'three-phase development of humanity,' and explain the background of this thought and also how it developed before and after Aesthetic Letters.

• The Journal of Advanced Prosthodontics
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• v.11 no.1
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• pp.7-15
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• 2019

PURPOSE. The aim of this study was to identify the effects of three aesthetic restorative materials on the wear between tooth and restoration by a pin-on-disk manner. MATERIALS AND METHODS. Six aesthetic restorative materials were used to prepare disk specimens for wear test, which were Lava Zirconia as zirconia group, Vintage MP and Cerabien ZR as veneering porcelain group, Gradia Direct microhybrid composite containing prepolymerized fillers, Filtek Z250 microhybrid composite containing zirconia glass and colloidal silica particles, and Filtek Z350 nanocomposite as composite resin group. Vertical loss of the worn cusp, change of the surface roughness of the restoration materials, and the surface topography were investigated after wear test under 9.8-N contact load. RESULTS. The porcelain groups (Vintage MP and Cerabien ZR) caused the largest vertical loss of teeth when compared with those of the composite resin and zirconia groups, and Filtek Z250 microhybrid composite results in the second-largest vertical loss of teeth. The surface of Filtek Z350 nanocomposite was deeply worn out, but visible wear on the surface of the zirconia and Gradia Direct microhybrid composite was not observed. When the zirconia surface was roughened by sand-blasting, vertical loss of teeth considerably increased when compared with that in the case of fine polished zirconia. CONCLUSION. It was identified that microhybrid composite resin containing a prepolymerized filler and zirconia with reduced surface roughness by polishing were the most desirable restorative materials among the tested materials to prevent the two-body wear between aesthetic restorative material and tooth.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.27 no.2
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• pp.105-115
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• 2018

Not to recreate the final prosthesis is the shortest way to get a successful outcome. In the case of an aesthetic prosthesis, it is important not only the condition of the oral cavity but also the whole harmony in the face such as the interpupillary line and the smile line. But the dental technician creates the prosthesis only based on the oral model. So if you want to prevent the failure of the prosthesis due to discordance with the face, it is a good idea to use patient's facial photography and provisional restorations to reproduce facial features, shapes and aesthetics before switching to a final prosthesis. To prevent the failure of the final prosthesis, it is important to communicate among the patient, the technician and the doctor according to the model diagnosis, facial and oral photos. Then all the technicians will get satisfactory results. In addition, the technician have to understand the form of natural teeth, to analyze and reproduce colors, and to understand materials in order to produce a successful aesthetic prosthesis. From now on, I will explain two parts. At first, the communication in the dental office for the successful production of aesthetic prosthesis through the clinical case. And the second, my opinion for the successful aesthetic prosthesis.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.155-176
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• 1997

Today most landscape architects and scientists have approached ecological restoration, only in a scientific way or on aesthetic way so as to deal with the complex phenomena of a site easily. However, 'the real world' as well as 'ecological nature' as it is can not be totally dealt by the scientific approach which is quantitative and reductioinal. ince a site to be restored has the character of 'place' where man 'dwells', it must be designed and built as total phenomenon. In terms of Martin Heidegger's interpretation of "revealing", we might find out how to overcome the dilemma of the 'modern technology'. To the point of the phenomenological integrity between 'modern technology' and 'art', we can reveal 'sense of place' on a site. The phenomenological approach, which is related to the characteristics of the site, implies something more than scientific since it focuses on the development of site-specific data without wasting extra data for ecological restoration. Bodily experiencing a site with the perception, man discloses the site's nature and he also analyzes it in a scientific way. Therefore the phenomenological approach might be a clue of constructing ecological restoration as well as construing the identity of landscape architecture.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.

• Archives of Craniofacial Surgery
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• v.23 no.4
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• pp.178-182
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• 2022

Postoperative temporal hollowing is a common complication of craniotomy. Damage and repositioning of the temporalis muscle can lead to a depression in the temporal side of the skull with inferior bulging, worsening aesthetic outcomes. We report a case of cranioplasty with three-dimensional (3D) printed mesh involving an additional correction using a temporalis muscle sling to help address this problem. A 3D-printed bioabsorbable mesh was prepared based on preoperative facial computed tomography, and was fixed to the hollowed area for tissue augmentation. The temporalis muscle was elevated and fanned out to its original position, and a sling was attached to a screw that was fixed to the mesh. For reinforcement, an additional sling was attached to another screw fixed to the mesh 2-3 cm vertically above the first screw. Aesthetic results were confirmed immediately after surgery and later during outpatient follow-up. Both depression and lateral bulging were resolved, and there was no delayed drooping of the temporalis muscle on 6-month follow-up. There were no complications, and the patient was satisfied with the appearance. This is a simple yet effective technique with a low risk of complications, and should be considered for postoperative temporal hollowing patients, especially those with severe lateral bulging.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.28 no.2
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• pp.95-115
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• 2019

To be successful in aesthetic prosthetic treatment, the crown part aesthetic (White Esthetic) and the tissue part aesthetic (Pink Esthetic) must be well controlled. Clinically, white esthetics are the area of dental technicians and pink esthetics are the area of dentists, but a deeper understanding of counterparts can produce more successful results. In this paper, I will briefly describe this process.