• 한국의류산업학회지
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• 제8권2호
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• 건축역사연구
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• 제18권5호
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• pp.7-24
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• 2009

This stydy investigates H-shaped houses in 1930s and examines the characters and meanigs of Kim, Jong-Ryang's H-shaped houses as a new trial to urban Hanok of those days. He, who was concerned about the housing problem of Seoul, made an attempt to make various types of dwellings. Among them, this study focuses on Japanese-Korean Style H-shaped houses in Samcheong-dong. As the alternative housing type against other urban Hanok of Seoul in 1930s, the H-shaped houses of Kim, Jong Ryang had characters as follows : 1) H-shaped houses has two special characters. First, the whole space of a single house can be divided into a left region and a right region. Second, it can be divided to a front region and a rear region. In his H-shaped houses, the left/right division was expressed as folding of space-layers in parallel with urban streets. The front/rear division was used as classification of main-living space and sub-living space. 2) KJR's H-shaped Japanese-Korean Style houses were proved to be designed as urban housing against the extreme housing shortage of Seoul in 1930s. 3) His houses however were not accepted broadly as a urban house type because the construction cost of those was higher than an average and the element of Japanese style house was not adapted to Korea. Kim, Jong-Ryang's trial is valuable because it was the rare case of realization of many discourses as defects of existing house type. With more rigorous investigations on KJR's experiment in modern house type, we could understand the housing condition of Seoul in 1930s and modern urban houses more than before.

• 한국의류산업학회지
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• 제22권6호
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• pp.844-852
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• 2020

This study is to understand the preferences of pilots, flight engineers and crew who work in the same aircraft but are exposed to different working environments and perform different mission operations in order to develop an ergonomic flight jacket. Based on a preliminary investigation, a survey of 107 pilots and 36 flight engineers and crew was conducted. The results are as follows; Pilots can control the temperature inside the cockpit, so they are less exposed to the cold when working, while flight engineers and crew are exposed to the cold more because they have many external tasks. The reason for the problem of the current flight jacket was a difference in ranking between two groups, but the highest ranking was poor dimensional suitability due to the habit of wearing layers of clothing. As a result of preferred design, there were significant differences between groups in the item of overall style. Pilots preferred a bomber jacket style(P:68.2%, E&C:44.4%), on the other hand, flight engineers and crew preferred a field jacket style(P:26.2%, E&C:55.6%)(p<.01). They preferred a stand collar(P:71.0%, E&C:86.1%), a fastener slider for a front fastening(P:62.6%, E&C:61.1%), fastener tape cuffs(P:54.2%, E&C:47.2%), a jacket with a softshell(P:86.9%, E&C:83.3%), fleece as softshell material(P:88.8%, E&C:69.4%), and fastener sliders as a attaching method(P:69.2%, E&C:61.1%). A hem fastening will be selected differently according to the overall style of outshell. Additionally, they preferred more than 5ea pockets(P:51.4%, E&C:44.4%), fastener sliders as pocket's fastenings(P:48.6%, E&C:61.1%), armpit ventilations(P:62.9%, E&C:58.5%). The results of above will be considered to design an ergonomic flight jacket.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• 헤리티지:역사와 과학
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• 제53권2호
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• pp.242-253
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• 2020

나주 복암리 정촌 고분 1호 석실에서 화살통 장식 6점이 출토되었다. 유기물로 만들어진 화살통은 매장 상태에서 부식되어 없어지고 금속으로 만들어진 화살통 장식물만 남게 된다. 정촌 고분 화살통 장식은 형태적으로 2점씩 쌍을 이루며, 출토 위치에 따라 화살통 2점을 장식한 것으로 추정된다. 화살통 장식은 화살의 방입부(方立部)를 꾸며주는 대륜상금구와 방입부와 허리띠를 연결하는 배판(背板)을 장식하는 판상금구로 나누어진다. 1호 석실 목관2에서 출토된 화살통 장식은 대륜상금구만 확인되었으며 1호 석실 동남쪽에서 확인된 화살통 장식은 허리띠에 사용된 추정 대구, 판상금구, 대륜상금구가 확인되었다. 화살통 장식의 분석 결과, 철제 판에 금동 판을 접합한 철지금동장식제(鐵地金銅裝飾製)이며 표면을 정(釘)으로 점을 찍어 선과 문양을 만든 것을 알 수 있다. 성분 분석 결과(XRF), 금동 표면은 24~40wt% Au, 50~93wt% Cu가 검출되어 금도금 표면에 청동 부식물이 형성되었음을 확인하였다. 금도금 층의 SEM-EDS 분석 결과 광택을 내기 위한 작업선이 확인되었다. 또한 7~9wt% Hg가 검출되고 도금 층에 아말감 덩어리가 확인되어 아말감 도금한 것을 알 수 있었다. CT와 FT-IR 분석 결과 대륜상금구는 철제 판 아래 견직물이 2중으로 겹쳐 있으며 그 아래 옻칠편도 붙어 있었다. 이는 대륜상금구를 방입부에 부착할 때 직물을 덧대어 밀착력과 장식성을 높였으며, 옻칠 된 방입부 표면이 함께 떨어진 것으로 추정된다. 반면, 판상금구는 철제 판 아래 유기물이 두껍게 붙어 있다. 재질을 확정하기 어려우나 배판의 잔재로 보인다. 이러한 나주 정촌 고분 출토 화살통 장식의 특징은 4세기 후반~5세기 후반의 백제, 신라, 가야 문화권과 유사한 형식을 보여주며 당시 수준 높은 고대 금속 공예 제작 기술을 확인할 수 있었다.

• 한국정보처리학회논문지
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• 제4권8호
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• pp.2143-2151
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• 1997

대규모 집적회로의 공정 기술의 발달로 전선 간의 간격이 가까와 짐에 따라서, 전선 간에 발생하는 결합 캐패시턴스가 접지 캐패시턴스에 비하여 급격히 증가하게 되었다. 그에 따라, 레이아웃의 설계과정에서 결합 캐패시턴스로 유발되는 혼신을 중요한 요인으로 고려할 필요가 있게 되었다. 본 논문에서는 3개 이상의 배선 층을 사용하는 배선 영역, 특히 채널 배선 영역에서 혼신을 최소화시킬 수 있는 배선 층 할당 방법을 다룬다. 제안된 방법은 배선 층 할당 문제를 0/1 정수 선형 프로그래밍 문제로 형식화하여 해결하는 것이다. 또한, 비용 함수에 대한 상한을 추정함으로써 효율을 향상시키는 방법을 제안한다. 실험을 통하여 제안된 방법이 혼신을 효과적으로 개선함을 보인다.

• 건축역사연구
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• 제21권1호
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• pp.99-118
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• 2012

This study aims to classify the architectural formation of the Stylobate of and Staircase types of Post-Lintel Construction in Backje style and Silla style and also to figure out their specific elements by periods and transformation characteristics. The scope of this study was restricted to architectural remains between the Three Kingdom period and the Goryeo period. To progress the investigation, the study classified remains in a similar type by period and type, and then and analyzed its character based on formation method and specific factors of subsidiary materials. As a result, its type can be classified as Backje type(I), Silla type(II) and Mixed type(III). Regionally, it is found that Woongjin, Sabi and surroundings in the capital of Backje, Gyeongju and main towns in the capital of Silla, and Gaeseong and main towns in the capital of Goryeo. In particular, type III has the characteristics of type I and II simultaneously, which has one or two layers Jangdaeseok stone between the foundation stone of stylobate and plate stone, and tends to be decorative when Taengjuseok stone is installed. For types of staircase, it could be classified as 6~7C Backje type(I), 7~9C Silla type(II) and 9C Mixed type(III) according to the formation method of Somaetdol (banister of stone stair). And from the 9th century on, decorated Somaetdol stone type(IV) of 1/4 circle shape began to appear. The common feature of stylobate of post-lintel and staircase is that it became simplified, abbreviated and decorative. It seems to be intended to secure simplicity of construction or structural stability.

• Human Ecology Research
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• 제60권2호
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• 보존과학회지
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• 제37권6호
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• pp.748-766
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• 2021

익산 쌍릉은 대왕릉과 소왕릉을 포함하는 명칭으로 백제 사비기(538~660 AD)의 횡혈식석실묘이다. 소왕릉의 발굴과정에서 노출된 봉분 동측 토층은 하부로부터 기반층, 정지층, 백제시대 판축층, 도굴층 및 일제강점기 복토층으로 나눌 수 있다. 이 연구를 위해 층준을 세분하여 시료를 확보하고 재료학적 특성을 분석하였다. 토층의 입도분석 결과, 대체로 사양토의 토성을 보이며, 백제시대 판축토층에서는 양질사토가 성토되어 있고 그 위로 사양토가 판축의주를 이룬다. 백제층의 중앙부와 최상부에는 점토 함량이 많고 일정한 입도를 가진 양토를 사용하였다. 모든 토층은 층위에 따라 약간의 차이가 있지만, 유사한 지구화학적 거동특성을 보여 토양의 모재와 성인은 거의 같은 것으로 나타났다. X-선 회절분석으로 모든 층위에서 카올리나이트를 동정하였으며, 주사전자현미경으로 카올리나이트와 할로이사이트를 확인하였다. 따라서 소왕릉 봉분의 백제시대 판축토층은 유적 일대에서 조달한 고령토가 함유된 사양토로 성토하였으며, 중상부에 점성이 강한 양토를 사용하여 불투수층을 조성하고 봉분 최상부를 밀실하게 마감한 것으로 해석된다.

• 한국생활과학회지
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• 제18권3호
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• pp.793-798
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• 2009

Hair cut is one of the best useful technical tool for hair styling. In this study using the rule of the layers of hair design, balanced for visual art, perceptual ability and form created by the principles of analysis and offer hair cuts and hair design of the representation of regions and even hair design as the basis of a student of Hair Beauty and all the people working in the field can create a variety of hair design puts the purpose to establish a basis. The result of this study can be outline as follows: First, the step line and the movement of the relationship between the law of the layers above and below the length of the same layer techniques, the same consists of a vertical cross-section of the overall round shape of the cut same layer is created and the appropriate volume and movement, the movement of low-layer round a little bit more feeling and expression is used when you want. High-layer used to want to move a lot of light and could see that. Second, the layer of the Law and over direction, lifting, section, the line control. weight control and analyzed by principle and the principle of the process of forming the written form was unknown. Third, hair design, the expansion of the expressive power of the law of the layers, and the section of the over direction depends on the presence of line control to express the length of the outline I had to, lifting the weight to adjust form controls, and the expression of Hair Design will be expanding the width. A hair designer, a layer style to create a zone he thought the law of the first layer formative area To further the reach will be a lot of research, leading up formative aspects of this research thesis do not have missing parts, or as a result of the Beauty of Hair Design and the width of a hair design education in the field can perform to help feed the reference materials that will be.