• Korean Institute of Interior Design Journal
• /
• v.20 no.5
• /
• pp.197-207
• /
• 2011

In general, collections in museum are kept in storage according to a preservation and administration program in long or short term, after conservators' conservation treatment. Museum activities related to conservation science are common to do before and after exhibitions. That is, the museum collections include a flow mechanism, which circulate a space in where conservation science related activity is carried on centering around its storage. The purpose of this study is to suggest the design guidelines of a conservation area in a museum. The results of this study as follows. First, to program space planning, conservation area of museum is divided into 4 kinds of zone. Second, space for relics unloading in basically includes 'unloading room', 'control room', 'worker room', 'unpacking room', and 'unloading tools storage' and considers to install 'outdoor arrangement space', etc. In case of space for making relics collections, 'arrangement room' and 'temporary storage' are separately planned in order to arrange and temporarily store relics taken in. Conservation analysis space should be divided into 2 kinds of zone, 'conservation analysis lab' for analysis of collection characters and 'restoration lab' for conservation treatment in the bigger museum. In case of large-scale museum, conservation treatment space is basically classified with characters of museum collections. And it considers installing 'waterlogged wood lab', 'painting clothes treatment lab', 'storage of treated relics' etc. Third, for 'the spaces for analysis treatment', must consider activity contents and sizes of the department for scientific conservation every museum, can classify in detail required space, and must review the space for relics settlement in construction.

• Journal of the Korean Society of Costume
• /
• v.53 no.3
• /
• pp.51-61
• /
• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• Journal of the Korean Society of Costume
• /
• v.60 no.5
• /
• pp.35-50
• /
• 2010

The purpose of this study was to know how helmet and armor was reinterpreted in historical play by considering general concept and type of old helmet and armor from the aspect of costume history and comparing the helmet and armor types of TV historical plays, Yeongaesomun and Taewangsasingi, whose historical backgrounds were based on the age of Goguryeo. The helmet and armor type shown in Yeongaesomun was reinterpreted as the one, which is close to historical investigation, by reappearing lamellar armor and jongjangpanju(helmet made of slim, long plate) shown in Goguryeo wall painting. The helmet and armor type shown in Taewangsasingi expresses fantastic helmet and armor by adding fantastic factor regardless of historical investigation. The study result reveals that there are several common characteristic factors between the helmet and armors of two historical plays. First, there was a classification in the display of character and story. The helmet and armor type shown in Yeongaesomun classified color and detail design depending on lamellar armor or character. In Taewangsasingi, the helmet and armor was manufactured depending on character's nature and the chain armors, which are lighter than existing helmet and armors, were usual. Second, they escaped from the historical investigation about traditional helmet and armor. In Yeongaesomun, myeonggwangae(a type of armor), which might be popular, was not expressed and Taewangsasingi is free from an imperative idea of historical investigation by manufacturing helmet and armor referring to that of ancient Rome age. The modern sense was reflected to increase dramatic effect. The helmet and armor of Yeongaesomun provides modern feeling by using stainless steel material and modern color arrangement and that of Taewangsasingi is designed in modern, splendid way as it aimed at game development from the planning step.

• Journal of the Korean Society of Costume
• /
• v.60 no.5
• /
• pp.19-34
• /
• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.

• Journal of the Korean Society of Costume
• /
• v.59 no.4
• /
• pp.14-25
• /
• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.

• Transactions of the Korean Society of Mechanical Engineers A
• /
• v.37 no.6
• /
• pp.815-820
• /
• 2013

With the development of technology, there has been a considerable increase in the number of skyscrapers in the world. Accordingly, there are increasing requirements with regard to maintenance, such as cleaning, painting, and inspection. However, it is extremely dangerous to work on the walls of buildings, and falls from buildings have accounted for a large proportion of construction accidents. In particular, as the number of buildings with irregular shapes increases, the accident rate during maintenance work has increased each year, with most accidents leading to deaths. An alternative solution must be developed with the commercialization of automatic systems. In this study, fundamental research has been conducted for drafting and commercializing an automation tool with a built-in guide system that can perform cleaning.

• Korean Journal of Human Ecology
• /
• v.18 no.3
• /
• pp.799-807
• /
• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• Journal of the Korean Institute of Intelligent Systems
• /
• v.26 no.5
• /
• pp.383-389
• /
• 2016

In this paper, we present the hull blasting machine with vision-based weld bead recognition device for cleaning shipment exterior wall. The purpose of this study is to introduce the mechanism design of the high efficiency hull blasting machine using the vision system to recognize the weld bead. Therefore, we have developed a robot mechanism and drive controller system of the hull blasting robot. And hull blasting characteristics such as the climbing mechanism, vision system, remote controller and CAN have been discussed and compared with the experimental data. The hull blasting robots are able to remove rust or paint at anchor, so the re-docking is unnecessary. Therefore, this can save time and cost of undergoing re-docking process and build more vessels instead. The robot uses sensors to navigate safely around the hull and has a filter system to collect the fouling removed. We have completed a pilot test of the robot and demonstrated the drive control and CAN communication performance.

• Journal of the Korean Society of Costume
• /
• v.66 no.1
• /
• pp.1-12
• /
• 2016

Najang was the central Seori, affiliated to the Ministry of War during the Joseon dynasty. The objective of this study is to research the existing authentic Najang costumes from the late-Joseon dynasty by examining factors, such as the composition of the costume, size, and method of creation, and attempt to replicate it. The Leipzig Grassi Museum in Germany possesses an official uniform of Najang from the late-Joseon dynasty, and we visited the museum in May of 2013 to examine it for the study. Written records, or Uigwe, and other pictorial data from the Joseon Dynastry describe the Najang wearing black or navy clothing with white decoration and pointy hats. The most notable characteristic of the Najang uniform is that it has the cotton cords pattern. The hat has a brass ball attached, which was worn with the ball facing the front in the early Joseon Dynasty, and was worn facing the back in the later years. They usually wore black head cloths (Heuk-geon), but would attach feathers on the black hats (Heuk-rip) for special occasions. The Najang uniform preserved in the Leipsiz Grassi Muesim does not exist in Korea. It is made of cotton. The cotton cord pattern of the uniform of Najang was made using single-ply cords and double-ply cords. The hat worn by Najang is in a form of a cone that becomes narrower towards the top or is in a form with wide and open end. It was made of oiled paper covered with hemp, and two circular metal disks were attatched at the rear.

• Proceedings of the Korean Vacuum Society Conference
• /
• 2014.02a
• /
• pp.458.2-458.2
• /
• 2014

We have demonstrated that simple brush-painted Ti-doped $In_2O_3$(TIO) films can be used as a cost effective transparent anodes for organic solar cells (OSCs). We examined the RTA effects on the electrical, optical, and structural properties of the brush painted TIO electrodes. By the direct brushing of TIO nanoparticle ink and rapid thermal annealing (RTA), we can simply obtain TIO electrodes with a low sheet resistance of 28.25 Ohm/square and a high optical transmittance of 85.48% under atmospheric ambient conditions. Furthermore, improvements in the connectivity of the TIO nano-particles in the top region during the RTA process play an important role in reducing the resistivity of the brush-painted TIO anode. In particular, the brush painted TIO films showed a much higher mobility ($33.4cm^2/V-s$) than that of previously reported solution-process transparent oxide films ($1{\sim}5cm^2/V-s$) due to the effects of the Ti dopant with higher Lewis acid strength (3.06) and the reduced contact resistance of TIO nanoparticles. The OSCs fabricated on the brush-painted TIO films exhibited cell-performance with an open circuit voltage (Voc) of 0.61 V, shot circuit current (Jsc) of $7.90mA/cm^2$, fill factor (FF) of 61%, and power conversion efficiency (PCE) of 2.94%. This indicates that brush-painted TIO film is a promising cost-effective transparent electrode for printing-based OSCs with its simple process and high performance.