• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.158-168
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• 2010

The purpose of this study is to analyze the concept of 'individual' found in architecture of British Archigram Group. Although many critics and historians have judged Archigram as a simple technocrat, the concept of individual employed by Archigram since their Living City Exhibition undermine their representational works. Archigram's concept of individual was basically influenced by the European historical context since the Renaissance and at the same time by the philosophy of existentialism. Since Archigram proposed their individualistic trend In the Living City Exhibition, they have created many individualistic architecture such as Living Pod, Cushicle, Suitaloon, etc. Through these experimental projects, Archlgram's concept of individual did not intend to get rid of the society itself, but to form a society based on the individual autonomy and on the interaction between individuals. In the city of Archigram, there was ultimately the new symbiosis between individual units and this symbiosis completed new world.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.179-182
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• 2007

2007 Design Festival on Seongnam Living Design has been held with the theme of "You and I, We" on the basis of harmony through design. This kind of theme has the main concepts as follows: Harmony- the exhibition program that can capture our mind, Communication-the experience program not through personal work but through group work, Design Seongnam-joyful Sungnam which we have made together by regional participation design project. Especially, it also has encouraged active and voluntary participation based on the promotion of the event and design exhibition that are hosted by the universities, elementary and secondary schools that represent the downtown Seongnam. In understanding Seongnam City, it has applied the plan introducing emotional process. These are the programs, which are reading, thinking, listening, watching, touching, making, and dreaming. Through the processes of being with Seongnam by participants, it has helped people know more about Seongnam, and focused on being the exhibition understanding the members of the community Seongnam.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.71-83
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• 2002

The purpose of this study was to investigate the causal relationships of need, self-esteem, body satisfaction on aesthetic surgery attitude of female. The method of the study was survey research by using questionnaires. Subjects were 813 females of 10's to 40's living in Daejeon Metropolitan City and Gongju City, Chungchungnamdo. Statistical analysis methods were one-way ANOVA. Duncan's multiple range test, Pearson's correlation coefficient, and multiple regression analysis. The results of the study were as follows. Women with lower body satisfaction and self-esteem had a tendency to keep the secret of aesthetic surgery. Women in higher social class and having higher need for dominance showed also strong tendency to keep the secret of aesthetic surgery. Women with lower body satisfaction and having higher needs for achievement and exhibition appreciated the value of aesthetic surgery more. Women with lower body satisfaction and self-esteem but with higher need for exhibition and dominance were more willing to confirm the aesthetic surgery Women with higher need for dominance but with lower self-esteem and body satisfaction were more willing to undergo aesthetic surgery in spite of high cost of surgery. Women having lower self-esteem, lower need for achievement, and lower body satisfaction were more willing to admit the risk tolerance of aesthetic surgery. As a conclusion, need, self-esteem, and body satisfaction constituted important characteristics which could affect aesthetic surgery attitude directly. Women having higher need were more willing to admit the change of body shape via aesthetic surgery.

• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.643-653
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• 2003

The purpose of this study was to investigate the relation of desire for aesthetic surgery and clothing attitude of female with their body satisfaction, need, and self-esteem. Subjects were 813 females of 10's to 40's living in Daejeon Metropolitan City and Gongju City, Chungchungnamdo. Results from this research revealed that the correlation of desire for aesthetic surgery with body satisfaction was negative so that female satisfying one's body shape didn't want to have aesthetic surgery. However, aesthetics and sexual attractiveness of clothing had positive correlations with body satisfaction. It was also shown that the need and self-esteem of female affected directly on the desire for aesthetic surgery and the pursuit of clothing aesthetics. Women with higher need for exhibition and dominance were not only concerned about the elevation of their appearance through their clothing but also recognized the value of modifying their appearance through aesthetic surgery. Women with higher self-esteem were interested in the elevation of their appearance through clothing, but the other hand, they showed negative attitude toward modifying their appearance via aesthetic surgery. This result revealed the fact that women with higher self-esteem had a tendency to keep the traditional sense of value and as a result, showed negative attitude toward the aesthetic surgery.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.10
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• pp.263-271
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• 2018

The purpose of this study is to find that people's visit to a dementia home exhibition hall is effective at improving their perception of dementia. The satisfaction of visitors to the dementia home exhibition hall and a change in their perception of dementia after the visit were analyzed. The study subjects were 52 residents in S city. This study had been conducted from April, 5 to May, 25, 2018. The dementia home exhibition hall has welfare kits installed in an entrance, a rest room, a living, and a kitchen. Virtual reality experience program and the program of wearing clothes to experience an elderly person were performed together. As a result, the visitors' satisfaction was high overall, and their visit was educationally effective at improving their perception of dementia. After their visit to the hall, the residents showed high increases in the scores of the questions about the perception of dementia causes, dynamism & system, symptoms & diagnosis, and treatment & prevention. The residents with middle years and higher of age were more satisfied than those in other age groups with the introduction of dementia, and prevention methods, introduction of safe and comfortable home environment, and appropriateness of experience program. In this study, it was positive that the differentiated experience program which was not existed actively led the participation of the target person and attracted high education satisfaction in a short time. In the future, it will be necessary to develop an extended experience program, provide an environment for direct experience of dementia, and perform a continuous program to draw more citizens' attention.

• Journal of Korean Society of Archives and Records Management
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• v.14 no.3
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• pp.127-151
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• 2014

This study aims to share a methodology for locality reproduction by concretely explaining the theoretical model, procedure, and practice of constructing the Port of Busan Image Digital Archive, based on the photographic and postcard images of the Port of Busan, the representative place of Busan. Among the open-source record management programs, Omeka was chosen in implementing the digital archive because of its suitability for image exhibition. After establishing the principles for archive implementation in accordance with the purpose of the archive, a basic investigation was conducted for the record collection. With the consent of the individuals and institutions that possess the related records on the Port of Busan, such as the National Archives of Korea, the Busan Museum, and the City of Busan, original image artifacts were thus collected. The collected artifacts were then described using the Dublin Core metadata and categorized by time period. The Port of Busan was classified through four distinctive spatial characteristics (transportation, historic, industrial, and living spaces). A total of 11 themes for the exhibition was then suggested. The Busan-Shimonoseki Ferry Boat was chosen as an example exhibition of transportation space.

• Journal of People, Plants, and Environment
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• v.21 no.6
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• pp.461-471
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• 2018

The role of urban agriculture should not be limited as a small-scale crop cultivation activity as it was, but it has to be considered as an entire process of a agriculture activity for the restoration of the city community. This study is based on the assumption that there has been a significant change in urban lifestyle and urban farming preference, considering the overall improvement in standard of living after implementation of five day work week system. It was conducted for urban citizens who were interested in actual urban agriculture for ages 19 and over who visited the Korea Urban Agriculture Exhibition in 2018. Only 115 valid samples were used for the empirical analysis. To analyze the demographic characteristics and effects of urban agriculture, frequency analysis and descriptive statistics were conducted. In order to analyze the reliability and validity of the measurement variables of the effect, the variables that deteriorate the validity were removed and 15 variables of the urban agricultural effect were selected. According to the result of factor analysis, three factors were extracted as follows: socially sustainable effect, negative effect and economically sustainable effect. In order to examine the effects of urban agriculture depending on income level, the one-way ANOVA, which is a statistical technique for verifying differences in the sample means, was performed. The psychological stability of people, the recovery of humanity through communion with nature, and the vitalization of agriculture linked with local agriculture had significant correlations with income level. The negative effect showed no significant correlation with income level. The improvement of the local environment was found to have an impact in relation with income level. We expect that there will be more studies on policies for the new types and models of urban agriculture in order to make it easier for urban citizens to approach it.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.