• 복식
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• 제59권7호
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• pp.114-126
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• 2009

The purpose of this study is to analyze the art characteristics of Japonism expressed in Art Nouveau jewelry. This study also provided an opportunity to seek for the development direction of contemporary jewelry design for the future. The influence of Japanese arts in Art Nouveau jewelry, was mostly from Ukiyo-e, an art form from the Edo Dynasty in Japan. Japanese arts soon inspired the origination of Art Nouveau across Europe in the late 19th century. And the scope of its infuluence is shown in jewelry which created by contemporary painters and designers. Ukiyo-e, a folk painting was created from multi-color wooden printmaking emerged many Japanese art collectors, including Samuel Bing and Arthur Lasenby Liberty. This became a source of new inspirations for Degas, Monet, Gogh and the origin of Japonism. The layout techniques that used perspectives higher than eye level and that extremely cut or expanded major objects for emphasis were typical Ukiyo-e characteristics. The result of this study is found out by showing the evidence that influence of this Ukiyo-e's method came up with specificity as planity, naturality, decoration and express on the Art Nouveau jewelry.

• 복식
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• 제58권2호
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• pp.120-133
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• 2008

The purpose of this study is to analysis types of light and to find the characteristics of light in contemporary fashion design. In a scientific context, light is electromagnetic radiation of a wavelength that has the characteristics of straightness, reflection, refraction, scattering and diffraction. But in philosophical speculations, light has been used as a metaphor of 'being', 'to-be' or 'enlightenment.' And through the ages, people have tried to represent and apply the light into plastic art like painting and architecture. The types of light in fashion design was categorized as those; reflective light from the surface of clothing which is the result of interaction between illumination and material, representative light as the pattern of light or light effect such as sun or its rays and optical or psychedelic patterns, luminescent light from light emitting material like phosphorescence or LED which combines into fashion design, projective light from a medium to reveal virtual patterns on the surface or a fashion design itself using holography. These lights in fashion design can be considered as reflection of emphasis of sexuality, longing for fantasy and mystique, visualization of interaction and communication and groping for the play.

• 복식
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• 제58권6호
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• 한국표면공학회:학술대회논문집
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• 한국표면공학회 2017년도 춘계학술대회 논문집
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• pp.148-148
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• 2017

Surface modification is a type of mechanical manipulation skills to achieve extensive aims including corrosion control, exterior appearance, abrasion resistance, electrical insulation and electrical conductivity of substrate materials by generating a protective surface using electrical, physical and chemical treatment on the surface of parts made from metallic materials. Such surface modification includes plating, anodizing, chemical conversion treatment, painting, lining, coating and surface hardening; this study conducted cavitation experiment to assess improvement of durability using anodizing. In order to observe surface characteristics with applied current density, the electrolyte temperature, concentration was maintained at constant condition. To prevent hindrance of stable growth of oxide layer due to local temperature increase during the experiment, stirring was maintained at constant speed. In addition, using galvanostatic method, it was maintained at processing time of 40minutes for 10 to $30mA/cm^2$. The cavitation experiment was carried out with an ultra sonic vibratory apparatus using piezo-electric effect with modified ASTM-G32. The peak-to-peak amplitude was $30{\mu}m$ and the distance between the horn tip and specimen was 1mm. The specimen after the experiment was cleaned in an ultrasonic bath, dried in a vacuum oven for more than 24 hours, and weighed with an electric balance. The surface damage morphology was observed with 3D analysis microscope. As a result of the study, differences were observed surface hardness and anti-cavitation characteristics depending on the development of oxide film with the anodizing process time.

• 한국산림과학회지
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• 제37권1호
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• pp.57-60
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• 1978

Significant findings concerning the cause of the gardening revolution of the eighteenth century in England, its landscape style and contribution to a new style are concluded as follows: 1. The English landscape garden is regarded as a great revolution in the history of landscape architecture, and it was in the eighteenth century, in England, that garden and landscape first came together. 2. For at no time in history has there been such general interest in gardens and in the total physical landscape, so much writing and criticism and open debate. 3. Garden design did not become a definite art form in England until the eighteenth century. During the period it can be seen that there were developing three distinct types of garden, that is, the picturesque garden, the 'poetic' garden and 'abstract' garden. 4. Also developing was a new appreciation for natural forms and natural landscape, expressed in painting, poetry and garden design, and the landscape gardeners tried bard to malce country scenery look as though man had not had a hand in it. Eventually these open spaces contributed to a new type of spatial form development of naturalistic landscape style which is today taken for granted as a normal component of the landscape architect's palette.

• 한국의류학회지
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• 제19권2호
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• pp.380-392
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• 1995

The purpose of this study was to investigate a comparison between method of depaysement of Surrealism and modern costume. Surrealism was based on Freud's theory of uncon\ulcornersciousness and Hegelian dialectic. I found that its method of expression and inspiration have a continuous influence on a field of fashion through preceding study. Surrealism stimulated Elsa Schiaparelli (1890-1973) to make creative and innovative costume which created a sensatio.i1 the world of fashion in 1930. And it have been influence on modern fashion. From this point of view, I examined surrealistic painter of Rene Magritte (1898-1967) to use shocking method of depaysement through literature and photographes. And I made researches on Paris London collcetions from 1989 to 1994 in the cause of analysis a comparison with depaysement in painting of R. Magritte. As the result of analysising main works of R.Magritte according classification of Suzi Gabric (an art critic), he was expressive of usual object in various of depaysement. I also proved that modern fashion which was new shocking, innovative and avant-garde presented unconsciousness through these expression of depaysement with common subject. In consequence, the method of expression of surrealism have been a durable influence on modern costume.

• 한국공간구조학회지
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• 제2권2호
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• pp.11-15
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• 2002

Formerly, it was called a tent and now, it is called membrane structure. If saying a tent, it imagines the tent of Bedouin, Mongolia and North American Indian. It became clear from the excavated wall painting that have been covered with the retractable roof of the canvas on the auditorium at the amphitheater in Pompeii and became a topic. These tents were made of the animal skins or fabric woven with the flax plants, and these tents are still used. However, if saying membrane material at present, it says the one to have applied a coating resin to the textile. Because the base fabric of membrane material is a woven fabric, the relation between the stress and the strain is different to the direction of the weaving thread. Moreover, the tensile force must always occur in the membrane surface. From these reasons, because the membrane structure corresponds to the particular building material and the construction method about the Building Standard Law, it must be examined specially that the membrane structural building have the same or any more safety as the provisions which was set to the Building Standard Law. Therefore, the technical standards about the membrane structural building became indispensable. In the paper, the kinds of the membrane materials, which are used for the membrane structural buildings, and technical standards process of the creating for the membrane structure buildings are introduced. Lastly, some of the soccer stadiums for 2002 FIFA World Cup KOREA/JAPAN which be covered with the roof of the membrane structures are presented.

• 한국대기환경학회지
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• 제21권3호
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• pp.315-327
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• 2005

The total of 35 target VOCs (volatile organic compounds), which were included in the TO-14, was selected to develop a VOCs' source profile matrix of the Yeosu Petrochemical Complex and to test its collinearity by singular value decomposition(SVD) technique. The VOCs collected in canisters were sampled from 12 different sources such as 8 direct emission sources (refinery, painting, wastewater treatment plant, incinerator, petrochemical processing, oil storage, fertilizer plant, and iron mill) and 4 general area sources (gasoline vapor emission, graphic art activity, vehicle emission, and asphalt paving activity) in this study area, and then those samples were analyzed by GC/MS. Initially the resulting raw data for each profile were scaled and normalized through several data treatment steps, and then specific VOCs showing major weight fractions were intensively reviewed and compared by introducing many other related studies. Next, all of the source profiles were tested in terms of degree of collinearity by SVD technique. The study finally could provide a proper VOCs' source profile in the study area, which can give opportunities to apply various receptor models properly including chemical mass balance (CMB).

• Journal of the Korean Wood Science and Technology
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• 제23권2호
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• pp.83-87
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• 1995

Impact-bouncing height of steel balls dropped from 1m height on various floor materials were measured to evaluate impact-bouncing characteristics depending on floor materials and the effect of these properties on walkability and fatigue of humanbody. Stone and tile finished concrete floor showed the highest bouncing height of around 70%, and soil showed the lowest bouncing height of around 3%. The second highest bouncing height was about 40% which corresponded to terazo finished concrete floor and about twice as high as the bouncing height on concrete floor without finishing. The impact-bouncing height could be lowered to 15~20% by using gum tile on concrete floor. Steel showed similar bouncing height to concrete floor, and wood-based materials showed the second lowest bouncing height next to soil. Among wood-based materials, hardwood species having higher specific gravities showed relatively high bouncing height of 8~24%, softwood species having low specific gravities showed relatively lower bouncing height of 5~18%, and wood composites showed bouncing height of 8~18%. Among all the materials used in this study, wood-based floor materials corresponded to the bouncing height of 10~15% which is considered to be best for humanbody. Surface painting on wood-based materials increased the bouncing height, and the number of bouncing of steel balls after dropping from 1m height increased as the bouncing height increased.

• 한국식생활문화학회지
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• 제31권1호
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• pp.51-63
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• 2016

The aim of this study was to investigate food culture represented by the grain yard, water well, kitchen, and meat storage space which were depicted in the mural painting of An-Ak tomb No. 3. The mural paintings of An-Ak tomb No. 3 were compared with those of ancient Chinese tombs before the 4th century in order to understand their characteristics. Above all, the tomb murals describe the form and function of the stove (buttumak) as well as the cuisine using the cauldron (sot) and steamer (siru) in a very interesting manner. The meat storage space of An-Ak tomb No. 3 shows whole carcasses of animals such as roe deer, dog, and pig. However, Chinese murals show that while small animals such as soft-shelled turtle, fish, chicken, duck, pheasant, rabbit, etc. were stored as whole carcasses without being cut into pieces, large animals such as cows and pigs were slaughtered and each piece of their carcasses such as the head, thigh, meat loaf, and cardiopulmonary part was separately depicted. These tomb murals vividly describe the food culture of Koguryo and China before the 4th century.