• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.9 no.1
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• pp.73-86
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• 1999

This study was performed to find out factors affecting degree of satisfaction with workers' working environment. The study subjects were 165 workers who were working at painting process of twelve furniture manufacturing factories in Incheon area. We used self-administered questionnaire containing general characteristics, working conditions, the degree of satisfaction with working environment, and the degree of satisfaction with working condition. In addition, we measured the exposure levels of occupational hazardous agents. The results were as follows; 1. Correlations between the degree of satisfaction with workers' working environment and the measured of occupational hazardous agents did not affect the degree of satisfaction with workers' working environment. 2. Factors affecting the degree of satisfaction with workers' working environment were not the exposure levels of occupational hazardous agents, but the degree of satisfaction with working condition, size of industry, health status, and types of ventilation system. As the degree of satisfaction with working condition was increased, the degree of satisfaction with working environment was increased. Also, for the workers who had good health status, the degree of satisfaction with work environment was appeared to be high. To increase the degree of satisfaction, with workers' working environment, firstly, effective work management and production control are required. Also, the worker's effort to negotiate continuously with top manager on improving working conditions is required. Secondly, developing heath promotion program to be appropriate for the characteristics of worksite is required. Moreover, leading worker's participation in health promotion program is very important to increase the degree of satisfaction with workers' working environment.

• Journal of Korean Society of Steel Construction
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• v.28 no.2
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• pp.97-108
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• 2016

Thermally sprayed metals or organic coatings is often used in corrosion protection of steel structures. Duplex coating systems of thermally sprayed metal in combination with organic coating are selected as a new generic type of coatings on steel structures under the highly corrosive environments. In this study, three types of corrosion tests were carried out on four types of thermal sprayed specimens with sealing: zinc, zinc-15%aluminum alloy, aluminum and aluminum-5%magnesium alloy, four types of duplex coated specimens; thermally sprayed metals in combination with paint of acrylic urethane, and painted specimens. NORSOK M-501, Wet/dry cyclic seawater tests and outdoor exposure tests of nine types of specimens were conducted. From the corrosion test results, weathering performance of them were presented.

• Journal of Fashion Business
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• v.10 no.3
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• Journal of the Korean Society of Safety
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• v.21 no.2 s.74
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• pp.138-142
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• 2006

Occupational asthma is commonly known to be induced by isocyanate exposure. Spray painters generally use isocyanates for 2-pack spray painting to coat wooden panel surfaces in the furniture industry in South Australia. Due to a lack of actual exposure data, this study conducted environmental and dermal/ocular monitoring from a company in the furniture industry. According to this study, there was no significant airborne contamination, due to the use of high volume low pressure (HVLP) spray guns, low concentration of hardener in paint solutions and appropriate respirator like full face-air line respirator. There was no significant HDI detection in the general work area around the spray booths. Owing to the use of disposable nitrile gloves during the spray painting, no significant dermal exposure was found. According to color monitoring, there was a possible dermal exposure from surfaces in the workplace, unless either protective gloves were worn or appropriate working practices like clean-up process and storage in a secure places. No eye contamination was detected from the spray painters. No significant exposure levels from inhalational, dermal, ocular were found. The area of most concern was work practices.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.49-62
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• 2022

The embroidered Kasaya is the twenty-five column Kasaya of Triratna: Buddha, Dharma, and Sangha. Even though it is a representative artifact of embroidery, the method of manufacturing heavily depends on the collector's reports. This study focuses on the prayer's recorder: Gonmyeong Park, born in Muja, and Ven. Haebung, who acted as a historical investigator of embroidered Kasaya. The beginning of Haebung's public record was in 1815, and his entrance into nirvana in 1826. The birth year of prayer in Muja was 1768. Therefore, the embroidered Kasaya was manufactured at the end of the 18th century or the early 19th century. Haebung appears to have played a critical role in historical investigation, and consequently the 125 icons of Triratna are almost identical in three treasures: the Kasaya at Seonamsa Temple, the embroidered Kasaya, and the painting of the embroidered Kasaya at Cheongnyongsa Temple. The embroidered Kasaya was particularly affected by the religion of a thousand Buddhas and by Triratna in the late Joseon era. Unlike the Kasaya of a thousand Buddhas in the Ming and Qing Dynasties, the embroidered Kasaya shows the Triratna in detail, suggesting that the icons of Triratna were newly created.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.43-50
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• 2023

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.

• Conservation Science in Museum
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• v.29
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• pp.111-132
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• 2023

Terahertz radiation cannot pass through metal and therefore reflect and return most signals. Utilizing this property, this study analyzed information on paintings to verify the usage of metal materials on paintings and the scope of their application. First, the study tested specimens of metal-based pigments and synthetic pearl pigments with metallic colors and textures in order to compare basic characteristics of terahertz images, such as signal severance caused by metallic substances, traits reflected in cross-section images, and high degree of reflection. Subsequently, based on the collected information, the study diagnosed various types of paintings including Korean traditional paintings and oil paintings using the terahertz imaging technique to confirm the usage of metal-based pigments in the inner layers of paintings and their scope of application. The terahertz imaging technique could has the potential to provide scientific evidence for previously-undiscovered information and art-historical records about various types of paintings that used metalbased pigments, thereby rendering significant utility for the conservation and authentication of paintings.

• Journal of the Korea Institute of Building Construction
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• v.3 no.1
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• pp.107-114
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• 2003

This study aims to find methods that prevents aging of buildings paint coating and that limits defects in construction. Defects in painting can occur in four stages: pure paint, during painting, after the paint coating has dried, and after some period of time has passed after coating. Paint may become bad due to precipitation of pigments, formation of membranes, and seeding during manufacturing. Therefore, it is important that the paint is well mixed and kept airtight at a cool, dark place. Indents, paint brush strokes, orange peel, separation of colors, and paint running and spreading during the paint work process can be prevented by using high quality materials and applying a high-level of construction method. After the paint coating has dried, boiling, yellowing, poor drying, poor bonding, and/or glen deficiency may occur. These are influenced by the levels of cleanness of the dried product, drying temperature and hydration. Then, when the coating has been left dried for some period of time, cracking, peeling, scaling, swelling, discoloring, and/or rusting may develop due to the ultraviolet and contaminants in the air. Since these defects occur due to inappropriate construction schedule and/or hot and humid condition, one must use weatherproof materials. Furthermore, poor paint color may be caused by contamination in the sample plate, discoloration, and/or discrepancies in colors which are due to material differences, level of glossiness, degree of dispersion, dual color property of metallic colors, precipitation of pigments, etc. One should achieve reduction in construction cost and effectiveness in paint work by limiting contaminations in the construction site and strictly observing to construction regulations.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.11 no.6
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• pp.11-25
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• 2008

In broad agreement on the need for forests in the city, researches on the urban forest are being actively carried out. Nonetheless, since these researches focus on functional usage within living spaces, finding methods for creation of urban forests and technical solutions have remained chief issues as a consequence. This paper, which attempts to historically examine the properties of the urban forest within living space, has the characteristics of researching basic angles for approaching the creation of contemporary urban forests. For this purpose Joseon Dynasty genre paintings, which represent living conditions of Joseon era, have been decided as theme of the paper. Particularly the focus was limited to genre paintings depicting trees, giving phenomenal observations. As a result, some remarkable characteristics emerged as functional urban forest, symbolic urban forest, topological urban forest, and appreciative urban forest. Urban forest within living space mainly appear as functional, showing an even distribution in small numbers rather than gathering in large groups. The following can be inferred regarding this and related to the setting up of the scope of, and creating of, contemporary urban forest : First, from the viewpoint of urban forest creation there is a need to study more subdivided and refined types of the urban forest and to actually realize these types. Second, from the viewpoint of urban forest usage, one needs to approach existing forests, ranging from small-scale including invididual trees, to mid-, large-, and super scale, as urban forests. In this, a network of major trees, and thereby a matrix of all trees formed by that network, will be formed. Third, from the viewpoint of urban forest improvement, approaches need to be based on planting trees in even distribution across the whole city.