• Journal of the Korea Furniture Society
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• v.17 no.3
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• pp.95-111
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• 2006

These series articles were written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. In the first article of the series reports we already described the theoretical background of rockers and the Windsor and the Boston style among the American classic rockers from the eighteenth to the twentieth century. This article contained the characteristics of the styles of the Shaker rocker, the Wicker rocker, and the Platform rocker. The three periods associated with furnituremaking in the Shaker sect are; the Primitive Era, which lasted from 1790 to 1820; the Classical Era, from 1820 to 1860; and the Final Phase, from 1860 to 1935. The important skills the Shaker needed to make the Shaker rocker are woodturning joinery, seat braid weaving and steam bending for the slats. The Wicker rocker continues to be extremely popular furniture style as the wicker proved equally effective for translating the ornate vine-like motifs popular among Art Nouveau proponents. The Wicker rockers were developed for child's, gentleman's and lady's, and it represents the most diverse forms among the above mentioned styles. However the rocker skates were often clumsy and took up too much room, preventing the chair from being shoved close to the wall and out of the way. These problems were overcome by the Platform rocker. The most important innovation was the technical development of a stationary base, which allowed the chair to rock noiselessly, without skating along the floor. The Modernism of the modern furnitures in America and Europe were affected by the characteristics of the Shaker rocker, the Wicker rocker, and the Platform rocker.

• Journal of Conservation Science
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• v.31 no.1
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• pp.13-20
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• 2015

Surface of the wooden cultural heritage has been protected from moisture by natural oils (such as perilla oil and tung oil), which accelerated degradation. But we can find seldom the research on the processes and performances of oil coatings. In this study, the water resistant performances by wood direction were compared to 3 types of natural oil and 2 types of oil stain, and the effect of additional indoor conditioning and temperature of oil were appraised in longitudinal direction. The natural oils block moisture about 79.2% comparing to the control in longitudinal direction. Especially the tung oil showed the outstanding water resistance about 90.5%. The water resistant performances decreased about 8.8% by additional indoor conditioning for 2 years. Heated oil improved the water resistance about average 5.0%.(Max. 9.6% with linseed oil).

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.255-262
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• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.6
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• pp.57-66
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• 2011

This study researched those universities for which fence opening and greening projects are being conducted by Seoul city. The forms of opened fences at 24 universities which have accomplished this project were classified into several types for each type of university, representative cases with many diverse facilities and active users were selected and investigated. The study was carried out using methods of field observations, literature review, and surveys. To maintain the confidentiality of the collected questionnaire analysis, the analysis of each type's usage frequency, overall satisfaction and a regression analysis with space environment and facilities, a one-way ANOVA for was used to validate the difference between types regarding satisfaction with the project. The results of usage type analysis were found to agree with the 3 analysis criteria-- installation location, user characteristics, and usage purpose--which were the legislative concepts. In overall satisfaction with facilities, it appeared that except for Seoul Women's College of Nursing with its rural district neighborhood type park, users were satisfied: with the small urban neighborhood park of Methodist Theological College, Konkuk University's small urban square park, and Sejong University's green space small city park. In general, users appeared to not have satisfaction with such features as fountains / hydroponic facilities, fitness facilities, and square facilities, which should be taken into consideration when pursuing further opening and greening projects. Regarding full satisfaction with the space environment, it was found that users were not satisfied with Seoul Women's College of Nursing's rural district neighborhood-style park, whereas they were satisfied with Methodist Theological College's small urban neighborhood park, Konkuk University's small urban square-style park, and Sejong University's green space small city park. In addition, it was shown that facilities use, convenience and privacy of the four parks were largely unsatisfactory for users, and that the small city parks located at roadsides were unsatisfactory regarding noise level, both of which should be most highly considered when conducting similar projects in the future.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.

• Food Science and Preservation
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• v.17 no.1
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• pp.139-144
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• 2010

This study was carried out to investigate potential applications of the extract of Castanopsis cuspidata var. sieboldii $N_{AKAI}$ nut as a functional food ingredient. The pH and $^{\circ}Brix$ of nut were 6.43 and 3.17, respectively. L, a and b values as Hunter's color were 83.07, 1.49 and 10.48, respectively. Total content of monosaccharide was 54.26 mg% and organic acids were composed of oxalic acid 495.37 mg%, formic acid 200.03 mg%, malic acid 93.65 mg%, citric acid 27.80 mg%, and succinic acid 16.61 mg%. Total phenolic contents in various solvent extracts were as follows: water 27.69 mg%, 75% ethanol 16.50 mg%, ethyl acetate 16.50 mg%, and methanol 10.30 mg%. The antioxidant activity ($SC_{50},\;{\mu}g/mL$) of the nut extracts by various solvents was in the order of ethyl acetate 74.88 > methanol 155.00 > n-hexane 213.33 > ethanol 249.33 > butanol 274.78 > chloroform 314.67 > 75% ethanol 848.33 > water extracts 869.67. The results indicated that the extract of C. cuspidata nut contained a potential food ingredient.

• Journal of Korean Society of Rural Planning
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• v.6 no.1 s.11
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• pp.19-28
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• 2000

Now in order to overcome the weakest points of the rural areas of the city of Kimje and, transform them into rural cultural villages which have local governing systems suitable to new localization age and activate this plan, we selected Daesan Village as a model village which had shown a lot of potentials in the basic research and studied it dividing it into the former part and the latter part. We studied Daesan village in the former part focusing on state analysis and basic ideas and in the latter part focusing on master plan and detail planning. We can summarize the conclusion like the followings. 1. Daesan Village located 8 kilometer away from the downtown Kimje and the city of Iksan respectably has comparatively good environment of good sunny place as an open field whose surrounding configuration of the ground consists of farming lands and low hills in front and rear. It has 38 farming households in all. 2. Human environment(인문환경); the village road whose width is about 4 meters is forming a flow system forking off into three. There is a route bus which operates three times a day even into the inside of the village. The main sources of revenue are vegetables in facilities, fruits and floriculture. Their average revenue is about 10.5 million won. 3. Here in DaeSan Village a legend dealing with Teasan literally meaning a big mountain consist of th village's tradition and you can see the tombs of a very faithful son and Anwi an army general in the age of the Japanese Invasion of Korea of 1592 to 1598 inside the village. 4. 85 out of the eitire population 141 whose age are over 20 showed very positive attitudes in a questionnaire about, making the village a cultural one and its development. 5. The basic of planned ideas is to increase the revenue of the farming household by making the village a professional farming one which has a state-of the-art production facility and agricultural technique. It is to make the village the one where people can enjoy the sense of the rural life and the farmer can enjoy their lives through consumptive and consistant leisure and resting activities. 6. We are planning to make entrance space, life space, rest and sport space, and cultural space considering the characteristics of the village and the demand of the resident. We are also planning to make tile entire city of Kimje an information transmitting base in short and long term perspectives. 7. DaeSan Village was planned as a place where tradition and the future exist together. On the basis of this concept we planned future programs for Daesan Village and in the latter part of the study master plans and detail plans will be continued.the regional agricultural condition. The development permissions were only during the period of restricted to use ($1979.12{\sim}1993.11$). We propose that the authority of development permission should be given to the local autonomy government, because the local government has the knowledge of its individual agricultural conditions.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.64-74
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• 2010

The study is based on an urban park design that is designed in consideration of the characteristics of Uijeongbu City, applied with adequate functions for the environment and showcasing the unique scenery in relation to the relocation of the US Air Force Camp Falling Water. The bases of the design are: the reasonable convergence of the square and park in consideration of the site characteristics; the application of an urban context as the park is located near a station; and the realization of an eco-friendly space. This study is based on foundation research regarding a review of urban square patterns, particular items in planning in relation to modern urban parks and the adaptability of the park in the future. Regarding space usage, the design is applied with notable ideas that allow the space to make its own characteristics through voluntary user activity in conjunction with the environment that will allow the park to cope with changes in the future, as opposed to a space that users experience through pre-determined programs. Below are the focal points of the design. First, the park is designed as an empty space which may accommodate the urban structural context of and usage patterns for being a field of the city ecology that changes and develops, beyond a passively-created square pattern. Such open spaces have a continuity which allows it to adapt to the development of the city. In addition, the design facilitates spontaneous processes through changes in usage pattern and time. Second, the design includes the message that the park and the city, natural things and artificial things, must communicate and network with each other. Hence the park shall not be an isolated green island within the city, but is an open space accommodating the demands for open area from nearby commercial, public and residential facilities; the park shall include a field that can accommodate a variety of programs. Third, the park is designed to encourage the effect of direct and indirect practical education by reflecting a physical plan as well as interesting experience design methods to lower carbon emissions and to create and maintain an eco-friendly space, the basis of a zero-emissions city.