• Human Ecology Research
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• 제54권1호
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• pp.13-26
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• 2016

The purpose of this paper is to investigate the rationale behind the transformation process of unique shophouse spatial organization in Phnom Penh. We selected 20 representative shophouses located in the Chinese district of Phnom Penh according to construction period. A qualitative study methodology was applied and field surveys were conducted that included interviews with residents, photographs, sketches, measurements, collecting historic photos, and cataloging maps. Selected cases were analyzed in terms of: basic house data, urban block analysis, and unit analysis. Cases were then classified into two types: private courtyard shophouse (PCS) and shared courtyard shophouse (SCS). PCS refers to shophouse typology that maintains most of the characteristics of early shophouses while being transformed into a modern multi-story apartment within a limited one bay plot. However, SCS refers to shophouses adapted from the indigenous forms of PCS that evolved into a multi-storey and multi-family housing typology that includes features that might have been adapted from Western apartment buildings such as sharing a big courtyard, staircase and corridors. We conclude that shophouses in Phnom Penh have positively adopted a Western building typology, adapted it to local traditions, and finally formulated a new building type that represent indicators of a modernization process gradually accepted by society.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.3-11
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• 2005

The subject of this paper is to find out the characteristics of Michael Graves' housing design. I collected the information of his designs and teamed his design language through his works on different time. I chose five actual housings for analysis which were built since 1960 when he have started his career. Though analysis of the exterior view, plane figures and the total arrangement photos, I could reached the conclusion. From analysis of this research I could figure out the characteristic of Michael Graves housing design as follows. During his whole working career $(1960\~present)$, his design style has went through distinctive characteristic changes that can be divided into: 1960s to early 1970s, mid and late 1970s, 1980s to as of now. 1960s to early 1970s, during this period his works implicated transparency, openness, consistency, complication, and contrast on space, abstraction, white-color and metaphor. mid and late 1970s, showed the white-color figure put together with geometrical structure and post-modernism styles such as ornamentation, natural and metaphor. 1980s to as of now, implicated ornamentation, natural features, historic background, interconnections, variety, symbolism and tradition.

• 복식문화연구
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• 제14권4호
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• pp.529-541
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• 2006

The purpose of this study is to analyze the aesthetic characteristics of PRADA's sports fashion, leading the fashion trend and one of the most influenced designers in 1990's, and thereby, helps to forecast them in the future. We studied the concept of sports fashion and the historic background of PRADA sports fashion. We also used corroborative method resolving Internet illustrated magazine, fashion journals and magazines so as to analyze the aesthetic and formative features from 1990's up to now. The results were summarized as follows ; The sports fashion in 1990's was classified into functional sportswear and town sports look. The functional sportswear can be separated into active sportswear and street sportswear. Town sports look that has been combined the elements of design in active sportswear had characters slim silhouette and simple details influenced by minimalism and reflected on the mainstream of 1990's lifestyle. Especially, PRADA's town-wear using high-tec textiles for sportswear affected on other couturiers and settled down them in the world wide fashion trend with her aesthetic expression. The aesthetic characteristics of PRADA's sports fashion appear the zenith of the minimalism and the elements of postmodernism which expressed remarkably the advanced future and familiar past at the same time as like high-tec materials, and classic silhouettes with functional details. Finally, we are able to anticipate that the aesthetics of PRADA sports look will be continued in the 21C with concerning about well-being, health, and sports & leisure.

• Elastomers and Composites
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• 제45권4호
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• pp.245-249
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• 2010

Much interest on the thermoplastic elastomers (TPEs) has recently been attracted in commercial fields as well as scientific and applied research. The TPEs have their own characteristic area especially in relation with block copolymers as well as many other polymeric materials, since they show interesting features displayed by the conventional vulcanized rubber, and at the same time, by the thermoplastics. In addition, they are characterized by a set of interesting properties inherent to block and graft copolymers, variety of blends and vulcanized materials. The importance of TPE as organic materials can be evaluated by the number of published reports (papers, patents, technical reports, etc). For the suitable introduction of the TPE, historic, scientific, technical and commercial considerations should be taken into account. This review article starts with a brief discussion on historical considerations, followed by a introduction of the main preparations and analytical techniques utilized in chemical, structural, and morphological studies. The properties, processing tools, the position among organic materials, and applications of TPEs are also briefly reviewed. Finally, the most probable trends of their future development are discussed in a short final remarks.

• 정보관리학회지
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• 제26권3호
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• pp.213-237
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• 2009

향토문화란 한 지방의 자연환경 속에서 과거로부터 현재까지 면면히 전승되어 온 역사와 전통, 풍물과 생활, 예술과 유물 및 유적 등의 모든 유산을 의미한다. 한국학중앙연구원에서는 이런 향토문화를 디지털 콘텐츠로 제작하고 이를 이용하여 "한국향토문화전자대전"을 편찬하였다. 향토문화 콘텐츠는 기록물의 특성을 가지고 있어 출처주의, 계층목록과 같은 기록물관리체계를 따르고 있으며 이를 편찬 관리하기 위한 시스템은 기초자료, 단편적 정보 및 고급정보 등이 하나의 시스템 안에서 순환하면서 새로운 지식정보를 만들어내도록 도와주는 순환형 지식정보관리시스템을 지향한다. 순환형 지식정보관리시스템의 이용자는 이 시스템을 통해 직접적으로 자료를 수집할 수 있을 뿐만 아니라 다른 곳으로부터 데이터를 수집할 수 있으며, 나아가 수집한 데이터를 가공하여 새로운 지식 정보를 창출할 수 있다. 그러나 다양한 향토문화 콘텐츠의 구조에 포함된 의미적인 특징을 손상시키지 않고 데이터베이스를 구축하기가 매우 어렵고, 또한 이러한 작업은 장시간에 걸쳐 여러 차례의 교정 작업이 수행되어야 하므로 문서편찬, 교정, 서비스가 동시에 수행되는 시스템을 필요로 한다. 따라서 본 논문에서는 "한국향토문화전자대전"의 사례를 중심으로 고문서가 많이 포함된 향토문화 콘텐츠의 의미적인 특징을 손상시키지 않으면서, 문서의 구조정보를 표현할 수 있는 XML 기반의 디지털 편찬 관리시스템을 제시하고 본 연구에서 개발된 관리시스템에서 향토문화 콘텐츠 관리를 위해 확장된 기능을 소개한다.

• 한국환경복원기술학회지
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• 제17권1호
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• pp.215-233
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• 2014

Seoul is an ancient city with a long history but there is hesitancy over referring to as a historic city due to the lack of traceable historic urban landscape elements which resulted from numerous invasions and general destruction. From a diachronic perspective, the nature which was survived the influence of development, could be the key element that links the past with the city's radically changed image in modern times. Although "old big trees" may be not a dominant influence with regards to the historical authenticity of the city, they are objects which contribute towards the historical authenticity by providing a sense of place in terms of connected narratives, as well as their natural image. However, the protection policy for an "old big tree" would place too much emphasis on the aspect of the ecological value rather than its cultural value. Generally, trees have been protected by installing a fence and a signboard around them as well as receiving additional care. However, it is difficult to find that surrounding space around the "law-protected tree" is connected with its original historical and cultural values. Even though the space around trees are no longer utilized in the same way as was so in the past, they still have high-potential in terms of cultural utilization. Therefore, the subject of this study is the "old big tree" as a natural object which contributed to the historical authenticity of Seoul. The current status of these "old big trees", aged between 100 and 800 years old, currently indicate that there are 215 trees designated as "law-protected tree" by the Seoul metropolitan government. This study aims to investigate the status of protection and utilization of the existing "law-protected trees" in the city of Seoul and find a way to increase both ecological preservation and cultural utilization for the high-potential "law-protected trees" within the city itself. In order to achieve this, previously researched papers shall be reviewed and surveyed pertaining to present usage patterns of the 215 "law-protected trees". In addition, five cases have been reviewed which focus on a few of utilizing the "protected trees" and their surrounding spaces. The results of the research indicate that 21 "old big trees" have high-potential in terms of cultural utilization as well as ecological value. However, it was revealed that there are limitations to pursue the value of preservation and utilization simultaneously throughout current regimental management. In order to cope with the current situation, it is pointed out that management facilities should be designed and installed by creative and flexible methods of organizing with consideration to the surrounding space and context. Even though in the case where there may not be a connecting history or legendary stories, the "old big trees" can serve as the fundamental features of small scale parks -dependent on their location, condition and environment- which will be of value to the local communities. This study could serve as a practical reference for the management and utilization of "old big trees" nationwide with numbers reaching 12,300 besides the city of Seoul.

• 헤리티지:역사와 과학
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• 제39권
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• pp.95-130
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• 2006

근대 초부터 일제강점기까지 세키노 타다시(關野貞)를 비롯한 일본인 관학파 연구자들은 신라고분을 비롯한 한국의 문화유적 전반에 대한 조사연구와 자료수집활동을 했다. 이들은 초기에는 메이지정부의 지원을 받았고 한국이 식민지화된 이후에는 조선총독부와 유관기관으로부터 재정 지원을 받으면서 고고, 미술, 건축, 인류학, 민속학 등 전 분야에 걸친 조사를 하였다. 이들이 신라고분을 비롯한 한국의 문화유산을 조사한 목적은 한국에 대한 일본의 식민지배를 정당화하기 위한 이론적 근거와 필요한 자료를 찾기 위한 것이었으므로, 지역적으로 편중되고 왜곡된 시각이 나타나기도 한다. 1886년부터 한국의 고분과 출토유물에 대한 관심을 가진 일본인 연구자들에 의한 방한 조사가 계속 끊임없이 이루어졌다. 1904년 세키노가 한국에서 조사한 건축조사 보고서인 "한국건축조사보고(韓國建築調査報告)"에는 오릉을 비롯한 여러 고분에 대한 내용이 간단하게 소개되었고, 1906년에는 이마니시 류(今西龍)가 최초로 소금강산에 위치한 '북산고분(北山古墳)'과 황남동 남총(南塚)에 대한 발굴조시를 한 후, 적석목곽분(積石木樹墳)과 횡혈식석실분(橫穴式石室墳)의 구조에 대한 초보적인 인식이 이루어졌다. 1909년 건축학을 전공한 야츠이 세이이치(谷井第一)는 서악동 석침총(石枕塚) 발굴조사에서 작성한 석실의 평면도와 단면도는 한국에서 이루어진 발굴조사에서 최초로 제작된 유구실측도면으로 수치가 표현된 점에서 이전의 스케치된 그림과는 뚜렷하게 구분된다. 또한 이후 발굴조사에서는 이러한 유구 실측도면의 작성은 계속 이어진다. 이마니시와 야쯔이는 신라고분의 입지적 특징, 분구의 형태와 규모, 출토유물 등에 대한 조사 결과에 근거하여 적석목곽분과 횡혈식석실분은 서로 연대적으로 차이가 있음을 밝혔다. 조선총독부는 1916년에 "고적 및 유물보존규칙"과 "고적조사위원회규정"을 시행하고 고적조사위원회와 박물관협의회를 설치했다. 박물관이 활동하게 되면서 고분에서 출토된 유물들을 전시하고 유적을 조사하는 사업들은 모두 조선총독부의 허가를 얻어야 됐다. 1921년에는 금관총(金冠塚)이, 1927년에는 서봉총(瑞鳳塚)이 각각 발굴조사되면서 경주의 대형 적석목곽분은 화려한 출토유물로 주목을 받게 되지만, 전국 각지에 대한 조사가 이루어지면서 여러 고분들에 대한 보고서 발간은 이루어지지 못했다. 최근 몇몇 연구자들의 노력에 의해서 미발간 보고서가 간행되었지만, 서봉총과 같이 중요한 고분들에 대한 보고서가 아직 출판되지 못한 점은 당시의 한계로 볼 수 있다. 1920년대 후반에는 노모리 켄(野守健)이 지적도를 기초로 제작한 경주고분 분포도는 현재 통용되고 있는 155기의 고분의 규모와 위치를 명기한 자료로 시내에 소재한 여러 고분의 전체 모습을 확인시켜준 점에서 그 의미가 크다. 1930년대부터 아리미츠 쿄이찌(有光敎一)와 사이토 타다시(齋藤忠)는 다수의 적석목곽분과 횡혈식석실분에 대한 발굴조사를 통해서 한 묘제에 여러 가지 형식의 분묘가 존재하고 있음을 확인하였고, 특히 복잡하게 중복된 모습으로 노출된 적석목곽분에 대한 발굴조사경험은 이전에 이루어진 발굴조사와 보고서간행 등에 있어서 발전된 모습을 보여준다. 이번에 지난 근대~일제강점기에 발굴조사된 신라고분에 대한 발굴조사 내용을 살펴본 결과, 이때 조사된 여러 유적들에 대한 조사내용을 재검증하는 작업이 필요하며 이는 한국고고학사를 정리하는데 있어서 중요한 사실임을 재확인할 수 있다.

• 복식
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• 제59권6호
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• pp.140-155
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• 2009

This study tries to find out the special twine technique of flat string and refers to historical documents, records, artifacts of excavated articles, and real materials. In Japan weaved cloth is called Jomul or Jonue and these methods were brought to Japan from Korea during Aska Period(645${\sim}$710) and Nara Period(710${\sim}$794). Among those knot methods, the 1/1 knot was written as a Shillajo on a documentary record at Heian Period, Engisik, and Samdaesillok which is a historic document from King Saiya to King Gowooko(858${\sim}$887). Also 2/2 knot weaving was recorded as Goryeojo that the technique originated for a long time in Japan. During the Joseon Dynasty, Gunmok was written as Dahoi, and Gwangdahoe, which means wide and flat Gunmok, was the name of Dae(Belt). The frame for the twine Gwangdahoe is no longer in Korea, but only can be found in Japan as a Goraiwoochi loom for Shillajo and Goryeojo from Korea. There are currently artifacts by the techniques of Shillajo and Goryeojo that were excavated in 15${\sim}$17C in Korea. Therefore this study was looked into the artifacts from 6${\sim}$8C in $Sh{\"{O}}so$-in, and the features of Dae (Belt) weaved by Shillajo and Goryeojo case method. Gwangdahoe excavated artifacts in the mid Jeosun Dynasty was restored by the process of Goryeojo weaving method.

• 건축역사연구
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• 제18권4호
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• pp.63-79
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• 2009

Since the 1970's, UNESCO and ICOMOS have adopted or emphasized on the principles of historic preservation. One of them is what to require a repair have not to be repaired beyond the limits of the features and techniques to have been born in those days of establishment. On the premise, this paper is to examine the materials and technique of lime plaster work in order for roof ridge, and for bond paste of stones and bricks in government constructions in the late of Joseon dynasty(17~19c). The result of this examination will come up with a basic conformity in the case of repairing the building established in the late of Joseon dynasty. This paper is carried out for the proper repair and restoration of architectural cultural properties. Construction reports and other documents in those days are examined for the study. Following conclusions have been reached through the study. The components of old plaster mixtures which agglutinate stones each other were quicklime, perilla oil, and paper fiber. The components of old plaster mixtures which point joint of black bricks consisted of slaked lime, perilla oil, paper fiber, and cereal starch. These components were the same as coat surface of roof ridges. In the case of times, one of the following sand, white clay, sap of boiled elm bark was added to these components for the purpose of high efficiency. These materials and techniques which applied to plaster work of those buildings had developed in the process of making royal tombs. But these materials and techniques were quite different from the present.

• 복식
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• 제29권
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.