• Journal of the Korean housing association
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• v.12 no.3
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• pp.51-60
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• 2001

This study has tried to explain the background of the inflow of western-style architecture, the influx of foreign architectural technicians, the import of building materials, the inflow of Japanese-style houses, and the course of the inflow of western-style architecture in the Busan area since 1910 so as to make the basic data of the forming course of modern architecture and the study of the modern history of architecture in Korea. The results are as follows. 1) Japanese-style houses and western-style architecture in Korea were brought in by foreigners, not by Koreans, Also, in Busan all sorts of building materials were imported by Japanese. Japanese-style house and western-style architecture were built by Japanese. 2) Japan has planned the network of roads through the expectation of increasing Japanese in the concession. And constructed houses on the rule of construction since 1877. 3) Western-style architecture in Busan was mostly constructed by Japanese carpenters, and they imitated western-style architecture.

• Journal of architectural history
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• v.6 no.1 s.11
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• pp.47-65
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• 1997

In the time of the rule of Japanese imperialism, Japanese style official residence played major role at the implantation of modern dwellings into Korea and its influences on Korean modern dwellings are distinguishable. This study focuses on the Japanese style official residence implanted into Korea before 1910. Before 1910 Japanese civilians in Korea builded just a traditional Japanese dwellings at the Japanese settlement in the ports opened. But Japanese engineers engaged in governmental organization of construction in the Old-Korean Empire builded a central corridor type Japanese dwellings as official residence. The central corridor type Japanese dwelling was an urban dwelling compromised between Japanese style and western style and distinguished by an outer-court type plan, Japanese entrance hall, central corridor and western style reception room. It is certified that the central corridor type Japanese dwelling was implanted into Korea before 1910 and this was the first time an urban dwelling to be implanted and spread through the whole Korea. The central corridor type Japanese dwelling implanted into Korea took in On-Dol and transformed to Korea-Japanese eclectic style. The central corridor type Japanese dwellings implanted into Korea in the time of the rule of Japanese imperialism makes function as a precedent of a modern urban dwelling to Korean and makes Korean dwellings transform from the rural inner court type into the urban outer court type.

• Journal of Fisheries and Marine Sciences Education
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• v.25 no.4
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• pp.836-847
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• 2013

In contemporary society, shipping and fishery industry tend to use Japanese language or Japanese style terminology extravagantly. It becomes a reason of preventing the communications between crews who have been working for many years and the beginners in the ships. Also the crews cannot easily understand the contents of the manuals that is explained in only Korean language. For this reason, the foreign employee have to study Japanese style terminology before begin start their work. I strongly believe that this is one of the major national contempt. It is reasonable to expel Japanese style terminology from the vessel if possible to enable free communications to each other. I inspected and examined about purification of 125 Japanese style terminology that is already examined in the fishing vessels 11 years ago. So, I expect this paper is a research for the eradication of the Japanese style terminology in the Korean fishing vessels.

• Journal of Fashion Business
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• v.11 no.4
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• pp.232-246
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• 2007

The purpose of this study is to investigate aesthetic characteristics and aesthetic consciousness of the style that European fashion(Paris, London, Netherlands) has accepted the since $19^{th}$ century. The mode Japonisme's development process in around $20^{th}$ century and 21st century has 6 characteristics as follows; 1. Accepting kimono as dressing gown 2. Accepting kimono as Japanese style's objet of Japanese taste 3. Accepting Japanese textile's skills, patterns, and asymmetry. 4. Accepting kimono's formative nature : flat pattern, flexibility, style etc. 5. Shocking of Japanese style's beauty 6. Accepting characters and casual wear Japanese aesthetic consciousness expressed on unconstructed design or deconstructed design that is the aesthetic characteristic of Japanese fashion is , , and the aesthetic consciousness expressed on Zen(Seon) style, cartoons of character fashion, and costume play is .

• Korean Institute of Interior Design Journal
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• no.20
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• pp.56-61
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• 1999

The purpose this study was to examine the actual condition and trends in changing the seating style in the house, focusing on the behavioral posture. The data was collected through the self-entry questionnaire designed for this study and the sample of 400 in total, 200 cases from Korea and 200 cases from Japav. The major findings were as the following : the seating style of Korean and japanese female university students were the floor-seating trends in the present conditiov. But they generally preferred the chair seating in the future. In the present seating style, the chair seating style has included bath, study, dinner, sleep, make-up, rest and family communication in that order by Korean Female university students ; the chair seating style has included sleep, study, dinner, make-up, bath, rest and family communication in that order by japanese. In the future seating style, the chair seating style has included study, make-up, dinner, sleep, bath, family communication and rest in that order by Korean ; the chair seating style sleep, study·make-up, dinner, family communication, rest and bath in that order by Japanese.

• Journal of Fashion Business
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• v.8 no.2
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• pp.102-115
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• 2004

The purpose of this study is to analyze the various types of styles and characteristics of Japanese street fashion since the 1990's. The primary source of data has been a collection of visual materials which include snapshots of young men and women in the Japanese street scene starting in the 1990's. To approach the Japanese street fashion comprehensively, I have divided the background of the Japanese fashion into three parts: 1. The birth of various fashion markets like the Dankai junior generation, Hetauma generation and Shinjinrui junior generation. 2. The pursuit of fashion senses like the well-balanced sense of independence and commensalism, uncommon sense and sense of a tassel. 3. A boom in new fashion business types like SPA and select shop. After the 1990's, the Japanese street fashion has changed through the popularity of styles which include the conservative casual style, sexy casual style, Harajuku pop style, and 3 Re(revival, remake, recycle) fashion style. The characteristics of the Japanese street fashion reflects the performance of virtual reality, the sign of style culture, and the communication of process.

• Journal of Fashion Business
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• v.17 no.6
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• pp.158-175
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• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• Journal of the Korean housing association
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• v.21 no.6
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• pp.1-9
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• 2010

The purpose of this study is to analyze the acceptance of the On-dol, Korean underfloor heating system, in the official residences built by the japanese colonist in 1905~1945. The On-dol is the main element that formed Korean housing culture throughout our her history. Since the climate of Korea is colder than that of Japan, the Japanese-style house built in Korea needed to take measures for the harsher winter. Therefore the official residences built during the japanese colonial period, built after the Japanese-style house, accepted the On-dol as additional heating system for their houses. Over forty years the official residences were constructed in large quantities, and many of the official residences also installed the On-dol. Some important changes were discovered about the acceptance of the On-dol. To define this concretely, this study was performed empirically through the comparison and analysis of governmental architectural drawings. There is great significance to consider that an architectural element of Korea influenced the Japanese-style houses. In conclusion, differences between the official residences with the On-dol and those without, during the latter stage of the japanese colonial period have founded. These results demonstrate that this element of traditional korean architecture affected the development of foreign houses built in Korea.

• Journal of architectural history
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• v.15 no.3
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• pp.7-25
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• 2006

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

• Journal of architectural history
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• v.9 no.2 s.23
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• pp.49-63
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• 2000

In this research, we analyzed the activities of Japanese architectural offices in Korea during the Japanese occupation era, classifying them into two groups: first, Japanese architectural offices that had their bases in Korea, and second, Japanese architectural offices that had their bases in Japan. There were totally 98 Japanese architectural offices that had their bases in Korea during the Japanese occupation period. The number of those offices had increased rapidly since 1920s. Nakamura(the design of bank buildings), Tamada(the design of theaters), Otsumi(the design of Japanese style residential houses) can be regarded as the most remarkable Japanese architectural offices among them. We found that these offices already specialized in certain architectural planning fields, such as bank buildings, theaters and residential houses. It was also found that, during the Pacific War period, even privately-managed architectural offices were mobilized for the war by Japanese government, through designing munitions factories, etc. On the one hand, since some large Japanese corporations entered into Korea, many Japanese architectural offices, that had their bases in Japan, got into working in Korea and designed a number of buildings, with the exception of the architectural office of Vories, who was a Christian architect. Even though the place that the activities of these Japanese architectural offices were carried out was Korea, any factors of Korean architectural style couldn't be found In their works. This means that they just transplanted the Japanese modern architectural style in Korea.