• 한국실내디자인학회논문집
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• 제19권6호
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• pp.214-223
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• 2010

As the population of preschooler increases with the increment of employed women today, the physical environment of day-care center is becoming an important factor for the preschooler as well as home environment. In order to create a suitable and desirable day-care environment for preschoolers, the using behavior of the preschoolers, who are the main users, needs to be applied to the spacial design. In this research, play preference area of Korea and United States which have different physical environments are analyzed. Child behavior observation analysis technique, interview with the teacher in charge, floor plan and furniture arrangement plan of the day-care centers and photography were performed for this research. The subjects were 63 preschoolers of 50 months old who are using Korean and American day-care centers and play of five minutes per preschooler was filmed for 3 days. Total 01 189 motion pictures were analyzed for this research. As a result, the physical environment, programs, preference area and finally the similarity and difference according to the gender were clarified for each countries' day-care center. The Korean preschoolers preferred the block area most, the second most favorite area being art for the younger class and language for older class. According to the gender, girls preferred language area while boys chose block area. On the other hand in American preschoolers' case, due to the large variety of play area, the play preference was distributed among various area except several high preference area. Based on this research, when designing indoor play area of day care centers, the area of block, language, and art which are popular play preferences should be considered firsthand, and gender preference is also needed to be thought of. These results may be used as an important data for planning the day care center play area in the future.

• 헤리티지:역사와 과학
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• 제43권3호
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• pp.334-365
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• 2010

나전도안은 작품을 완성하는 데 필요한 모든 공정이 들어있는 것으로 기물의 종류와 형태, 크기, 장석과 나전 문양에 대한 내용이 포함되어 있다. 또 일부는 제작시기와 제작자를 비롯하여 작품 제작을 주문한 수요자에 대한 정보가 남아 있다. 본고에서는 송방웅(중요무형문화재 제10호 나전장) 소장 나전도안 도안 1,700여 점을 중심으로 일제강점기부터 현재에 이르는 기간 동안 시대별로 유행했던 문양과 기물, 그리고 수요자와 수급형태에 대해 알아보고자 한다. 도안의 대표적인 문양으로는 화조, 사군자, 문화재, 풍속인물, 수복자, 산수 등이 있다. 문양도안은 시대에 따라 변화하는데 근대를 대표하는 일제강점기에는 일본에 의해 작품제작과 수급이 통제되었던 배경과 맞물려 일본의 취향을 따른 문양 도안이 많다. 수요층도 일본인을 중심으로 일본과 친분이 있는 계층이 주를 이루었던 것으로 보인다. 도안의 중요성에 대한 인식도 시대적인 정황과 관계된 것으로 보이는데, 송주안이 일본에 거주하였던 시기와 남아있는 도안 중 가장 이른 것의 시대가 일치하는 것으로 보아 일찍이 공예 도안연구가 활성화되었던 일본의 영향을 받았던 것으로 추정된다. 그러나 일본과는 소재, 제작방식, 수급체제가 달랐던 만큼 일본과 한국의 도안에는 큰 차이가 있다. 해방 이후 현대로 접어든 1950년대에는 6.25 전쟁 이후 미군이 새로운 수요층으로 출현하여 이들이 선호하였던 소품을 장식하기 위한 한국적인 문양도안이 주를 이루게 된다. 1960년대 후반부터 1970년대까지는 외국산 자개가 수입되고 사용량이 증가하면서 도안의 크기와 내용, 종류가 다양해지며 조각법, 부식법 등의 새로운 기법도 등장하게 된다. 1970년대에는 경제성장과 맞물려 나전공예품에 대한 관심과 인기가 높았기 때문에 수요층이 다양하였다. 나전공예품은 전적으로 주문에 의해 생산되었는데, 수요층은 각종 단체와 가구 중개상, 그리고 개인으로 분류된다. 이 시기의 수요층 가운데 주목되는 것은 도안에 '부산 좌천동'과 '점촌'으로 표기된 가구 중개상과 개인 수요자인 '진범모친'이다. 부산 좌천동은 1970년대 자개골목으로 유명했던 곳으로 이곳의 상인들은 통영으로부터 다양한 종류의 나전공예품을 납품받아 재판매하였으며, 점촌은 문경의 탄광촌으로 이곳의 "김씨"가 광부들을 상대하던 접대부를 상대로 통영에서 만들어진 나전공예품을 조달하였다. 진범모친은 나전공예품을 소유하기 위해 개인들이 모여 만든 계의 대표로서 부산 대신동에 살았으며 통영에 삼층장을 비롯한 각종 나전공예품을 주문하였다. 1980년대에는 아파트 문화의 정착으로 붙박이장과 거실장, 주방기구, 소파 등 새로운 양식의 가구가 사용되면서 자개장의 입지가 크게 좁아졌다. 한때 통영에서는 끊음질이 크게 유행하여 나전공예품 제작이 활성화되는 듯하였으나 1980년대 말 이후, 사회 전반적으로 나전공예에 대한 선호도가 떨어져 수요자가 감소하였고, 이에 따라 나전 작품의 제작도 자연스럽게 줄어들게 되었다. 현재는 몇몇 장인들에 의해 명맥만이 유지되고 있다.

• 한국실내디자인학회논문집
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• 제25호
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• pp.229-235
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• 2000

Although Frank Lloyd Wright represents himself as one of the greatest American master architect, the master architects contribution towards the advancement in the modern history of architecture goes beyond just creating landmark buildings. Through out his life, he was the leading architect not only in the area or architectural design but showed his talent in interior architecture, furniture, fabric, lighting fixture, art glasses, tablewares, silver wares as well as in graphic design which should cover all the elements related to the "total design" in architecture. As seen in his architectural design, the "total design" concept also reflects both beauty and logic of the nature and strengthens his theory of the organic architecture design. The research began with finding out the relationship between his architecture, nature and the supporting design elements mentioned above. the purpose of the research is to analyze the relationship of the spatial organization and the design elements in Frank Lloyd Wrights architectural works from the point of "total design" view and provide the valuable guide line for the development of the modern interior design. His design theory, based on the fundamental ideas of the nature, his organic architecture design, and reference materials to support total design concept will be discussed on chapter 2. And on chapter 3, application of the total design in his actual project will be analyzed. The data and analyzation have been completed based on written references and actual visit to the project sites. Frank Lloyd Wright placed highest value on the human beings and enjoyed presenting new ideas and forms to create better environment for the humans through his architecture and interior design projects. While he was presenting new ideas he continued to support design for democracy which has close relationship to the new frontier spirit of America. He was the master architect for the general society with accurate understanding of the life style of the public with design sensitivity shown in his concept of the total design.s concept of the total design.

• 건축역사연구
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• 제15권2호
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• 한국주거학회논문집
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• 제18권5호
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• pp.85-91
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• 2007

This is a case study for improving the sound environmental quality of cafeteria in university campus. The purpose of the study is to find out the present condition of physical level, type, and cause of indoor noise of cafeteria in university campus by comparison with a restaurant near campus. Research methods were field survey and questionnaire survey. Field survey was consisted of measurement on equivalent and instant noise level and observation on noise type. Respondents of questionnaire survey were 60 students using subject cafeteria or restaurant. Surveys were carried out in the 8th and in the 14th of December 2005. The results are as follows. 1) Indoor noise levels of the cafeteria were measured as $67.2{\sim}76.6$ (average 73.3) dB(A)Leq5min and $60.3{\sim}90.5$ (average 71.2) dB (A), exceeded the indoor noise recommended value of ASHRAE (American Society of Heating, Refrigerating and Air Conditioning Engineers). But noise levels of the restaurant were $61.6{\sim}70.4$ (average 66.9) dB(A)Leq5min and $59.8{\sim}70.6$ (average 64.9) dB(A). 2) The users's responses on major noise type in the cafeteria were 'noise by handling equipment and tableware', 'noise by moving chairs', and 'talcing noise', but 'taking noise' and 'background music' in the restaurant. 3) It was found that indoor noise level of the cafeteria was caused by sound reflection of finishing materials, noise diffusion by open type kitchen, and dragging noise of movable furniture.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.13-21
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• 2008

The purpose of this study is to analyze the development and characteristics of movable-housing planning concept. A document research method was used to analyze and classified the development of the movable-housing concept of 20th century. Through this study, the following conclusions have been reached; First, the origin of the movable-housing is from the prehistoric and traditional portable buildings, also due to the emergence of nomadic lifestyle using car traveling and mobile home in the 1920's. Second, the development of the movable-housing in 20th century was classified as follows; (1) In order to obtain the productivity and efficiency drawing from the industrialized-housing in the early of 1900s, movable furniture and flexibility was proposed. (2) American mobile home in 1920's, influenced by the development of car industry, was the most successful example of a factory-built building to be found in the world. (3) Dymaxion house and dome by R.B.Fuller, an aggregation of high-tech mechanical equipment, had a great impact on the development the concept of 'mobility' and influenced Archigram & Metabolist's movable capsule ideas in 1960's. (4) The lightweight materials such as plastic, duralumin and pneumatic structure were adopted for movable-housing in 1960's. Through this research, It is discovered that the stage of social development has close links with the developing aspects of movable-housing concepts. This study shows that the combination of three planning concepts such as flexible housing, mobile-housing and capsule will be more ideal in movable-housing planning rather than relying on just one type.

• 한국실내디자인학회논문집
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• 제5호
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• pp.45-52
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• 1995

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

• 한국산업보건학회지
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• 제6권1호
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• pp.67-76
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• 1996

This study was performed to estimate total dust concentrations and particle size distribution of wood dust in the furniture and sawmill industries. To compare total wood dust concentrations, two samplers recommended by the American Conference of Governmental Industrial Hygienists and by the National Institute for Occupational Safety and Health were used. Concentration data were analyzed by paired-t tests using the SAS program and two parameters of the particle size distributions were determined by histogram. The results were as follows: 1. Particle size distributions showed a unimodal pattern in cutting and a bimodal in sanding operations. Mass median aerodynamic diameters(MMAD) were $17.35{\mu}m$ in cutting, and $1.39{\mu}m$ for small mode and $18.89{\mu}m$ for large mode in sanding operations. The proportions of particle size larger than $9.8{\mu}m$ estimated by the impactor were 61.16 % in cutting and 62.33 % in sanding operations, respectively. 2. The average personal total dust concentrations measured by IPM sampler were $17.12mg/m^3$ (GSD=1.45) from indoor samples, $2.97mg/m^3$(GSD=1.90) from outdoor samples in cutting, and $8.01mg/m^3$(GSD=1.58) from sanding operation. And those of by 37 mm closed-face cassette were $9.12mg/m^3$(GSD=1.46), $1.06mg/m^3$(GSD=1.99) from cutting, and $3.32mg/m^3$(GSD=2.16) from sanding operations. 3. The average area total dust concentrations measured by IPM sampler were $1.88mg/m^3$(GSD=2.04) from indoor cutting, $4.76mg/m^3$(GSD=2.83) from indoor sanding operations. And those of by 37mm closed-face cassette were $0.49mg/m^3$(GSD=2.34) from cutting, and $1.32mg/m^3$(GSD=3.03) from sanding operations. 4. The ratio of personal total dust concentrations measured by 37 mm closed-face cassette to those by IPM sampler were 35.7 %, 53.3 % from cutting, and 41.4 % from sanding operations. 5. The ratio of area total dust concentrations measured by 37 mm closed-face cassette to those by IPM sampler were 26.1 % from cutting, and 27.7 % from sanding operations. 6. A statistically significant difference of total dust concentrations between the 37 mm closed-face cassette and the IPM sampler was found.