• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.188-197
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• 2020

Termites play an important role as decomposers of the forest ecosystem, while simultaneously causing enormous damage to wooden structures. Currently, two species of subterranean termites have been reported in Korea, and termite damage to historical wooden buildings is occurring nationwide due to climate change, forest fertility, and the locational characteristics of historical wooden buildings. Subterranean termites make their nests underground or inside timber. Termites move underground and access wooden structures through the lower parts of the buildings, adjacent to the ground. Once termites attack the wooden structures, it not only spoils the authenticity of cultural heritage structure, but also hampers structural stability due to the decrease in the strength of the material. Therefore, it is important to prevent termite damage before it occurs. Chemical treatments are mainly used in Korea to control and prevent the damage. In foreign countries, physical barriers are also used to prevent entry to wooden buildings, along with chemical treatments. Physical barriers involve installing nets or particles that termites cannot pass through in the lower part of the building, around the pipes, and between the edges of the building or exterior walls and interior materials. Advantages of a physical barrier are that it is an eco-friendly method, maintains long-term effect after installation, and does not require the use of chemical treatments. Prior to applying physical barriers, studies into the characteristics of termite species must be undertaken. In this study, we evaluated the minimum passage size that each caste of Reticulitermes speratus kyushuensis can move through. We found that workers, soldiers, and secondary reproductive termites were able to pass through diameters of 0.7mm, 0.9mm, and 1.1mm respectively. Head height of termites was an important factor in determining the minimum passing size. Results from the current study will be used as a basis to design the mesh size for physical barriers to prevent damage by termites in historical wooden buildings in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.24-37
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• 2021

This study was conducted to newly examine the original landscape of Buyongjeong(芙蓉亭) and Juhamnu(宙合樓) areas in Changdeokgung Palace(昌德宮), focusing on the modern period including the Korean Empire, and to derive useful research results for restoration and maintenance in the future. The study results can be summarized as follows. First, the artificial island in Buyongji(芙蓉池) was originally made up of a straight layer using well-trimmed processed stone. However, during the maintenance work in the 1960s and 1970s, the artificial island in Buyongji was transformed into a mixture of natural and processed stones. The handrail installed on the upper part of the artificial island in Buyongji is a unique facility that is hard to find similar cases. The handrail existed even during the Korean Empire, but was completely destroyed during the Japanese colonial period. Second, Chwibyeong(翠屛), which is currently located on the left and right of Eosumun(魚水門), is the result of a reproduction based on Northern bamboo in 2008. Although there is a view that sees the plant material of Eosumun Chwibyeong as Rigid-branch yew, the specific species is still vague. Looking at the related data and circumstances from various angles, at least in the modern era, it is highly probable that the Eosumun Chwibyeong was made of Chinese juniper like Donggwanwangmyo Shrine(東關王廟) and Guncheongung(乾淸宮) in Gyeongbokgung Palace(景福宮). Third, the backyard of Juhamnu was a space with no dense trees on top of a stone staircase-shaped structure. The stone stairway in the backyard of Juhamnu was maintained in a relatively open form, and it also functioned as a space to pass through the surrounding buildings. However, as large-scale planting work was carried out in the late 1980s, the backyard of Juhamnu was maintained in the same shape as a Terraced Flower Bed, and it was transformed into a closed space where many flowering plants were planted. Fourth, Yeonghwadang Namhaenggak(暎花堂 南行閣), which had a library function like Gyujanggak(奎章閣) and Gaeyuwa(皆有窩), was destroyed in the late 1900s and was difficult to understand in its original form. Based on modern photographs and sketch materials, this study confirmed the arrangement axis of Yeonghwadang Namhaenggak, and confirmed the shape and design features of the building. In addition, an estimated restoration map referring to 「Donggwoldo(東闕圖)」 and 「Donggwoldohyung(東闕圓形)」 was presented for the construction of basic data.

• Journal of the Korean Orthopaedic Association
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• v.55 no.6
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• pp.487-494
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• 2020

Purpose: No attempt has been made to identify the relationship between the study characteristics and citation rates of articles published in the Journal of the Korean Orthopaedic Association (JKOA). This study classified the study characteristics of articles in the JKOA and analyzed the relationship between the study characteristics and citation rates. Materials and Methods: A cohort study was conducted on all articles published from February 2001 to December 2015. Three independent reviewers classified the articles according to the article type, material, time of the study, design, clinical categories, number of authors, and number of cases. The citation numbers of each article by other journals were taken in January 2020. Univariate analyses were conducted to assess the effect of each characteristic, and multivariate linear regression analysis was performed to analyze the overall relationship between the characteristics and the citation rates. Results: A total of 1,640 articles were published from 2001 to 2015, and 724 articles were cited more than once. The articles published in 2009 had the highest average number of citations. Original articles had the highest citation rates, followed in descending order by surgical techniques and reviews, instructional course lectures, and case reports (p<0.001). Among the case reports, articles dealing with general trauma scored significantly higher average citations (mean=1.5, p=0.006). Among the original articles, articles on general orthopedics had the highest citation rates, followed in order by clinical articles and experimental articles. Among the clinical articles, epidemiologic studies (mean=5.0, p<0.001) and studies on the spine (mean=1.7, p<0.001) recorded significantly higher citation rates than the others. Conclusion: Of all the articles published in the JKOA from 2001 to 2015, articles dealing with general trauma had the highest citation rates among case reports. Among the original articles, epidemiologic studies and studies concerning the spine were cited significantly more than others.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.5
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• pp.40-53
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• 2022

This study carried out to provide the methodology and basic status material of using Korean national statistics needed to find the actual state of the landscape architecture industry. The landscape architecture industry was classified into 'Design', 'Construction Management', 'construction', 'Maintenance & Management', 'Materials', 'Research', 'Education', and 'Administration' areas. In each field, business types were systemized and associated in accordance with Korean standard industrial classification and legislations pertinent to construction. Among them, the business types directly defined in the construction related legislations under the Ministry of Land, Infrastructure and Transport were focused on, and the establishment, association, integration, distribution, duplication, and omission of national statistics were analyzed. As a result, the business types of statistical analysis were selected. In order for commonality of statistical items and minimized error of interpretation, semantic analysis was conducted. Finally, the number of registered business types, the number of workers, and sales were selected. Based on them, the analysis framework applicable to fundamental analysis and evaluation of the actual state of the industry was proposed. Actual national statical data were applied for analysis and evaluation. In 2019, the number of registered business types related to the landscape architecture industry was 12,160, the number of workers by business type was 106,296, and the sales by business type were 8,308.5 billion KRW. The number of registered business types and the number of workers had been on the rise from 2017, whereas the sales had been on the decrease. It is required to come up with a plan for industrial development. This study was conducted with the national statistics established by multiple public institutions, so that there are limitations in securing consistency and reliability. Therefore, it is necessary to establish systematic and consistent national statistics in accordance with 「Landscaping Promotion Act」. In the future, it will planned to research application and development plans of national statistics according to subjects including park and green.

• Korea Science and Art Forum
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• v.34
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• pp.327-337
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• 2018

Korea is rapidly becoming an aging society as much as it takes the first place among OECD countries, and as the life expectancy of Korea gradually increases, the proportion of the elders in society increases. Accordingly, the happiness of the elders is contributed to the overall social atmosphere and happiness, however, the lower quality of life of the elders due to physical, psychological and social changes can be developed into social problems such as depression and rising suicide rate. As a result, there is a social interest in improving the quality of life and satisfaction of the elders, and the senior citizen center is receiving renewed attention as a form of welfare facility that can play a pivotal role in the social activities of the elders. In recent years, efforts to improve the environment of the senior citizen center have been made due to the growing role of it, however, there is a controversy over whether the quality of the indoor environment is user-friendly or not due to the limitations of material resources and human resources. It is considered that the quality of the color environment should be improved in the senior citizen center in the way that the color environment is not only an indoor environmental factor which gives high psychological and mental effects to users but also a way to improve the environmental satisfaction at the lowest cost. Previous studies on the facilities related to the elders have been actively carried out, but they were very sporadic and there was very little information about the color environment in the related laws or in the guideline presented by cities. It is necessary to integrate guidelines that are scattered within a comprehensive range without any specific target in order to grasp the current status of the color environment and to properly evaluate it. In addition, considering that the senior citizen center is an important leisure facility for the elders that functions in a residential area with a nationwide network, the results of this study are expected to contribute to the environmental improvement of existing senior citizen center which will be activated in the future by enabling the improvement of psychological satisfaction of the elders.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of Practical Engineering Education
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• v.15 no.1
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• pp.119-126
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• 2023

Today, in order to improve fuel efficiency and dynamic behavior of automobiles, an era of light weight and simplification of automobile parts is being formed. In order to simplify and design and manufacture the shape of the product, various components are integrated. For example, in order to commercialize three products into one product, product processing is occurring to a very narrow area. In the case of existing parts, precision die casting or casting production is used for processing convenience, and the multi-piece method requires a lot of processes and reduces the precision and strength of the parts. It is very advantageous to manufacture integrally to simplify the processing air and secure the strength of the parts, but if a deep and narrow pocket part needs to be processed, it cannot be processed with the equipment's own spindle. To solve a problem, research on cutting processing is being actively conducted, and multi-axis composite processing technology not only solves this problem. It has many advantages, such as being able to cut into composite shapes that have been difficult to flexibly cut through various processes with one machine tool so far. However, the reality is that expensive equipment increases manufacturing costs and lacks engineers who can operate the machine. In the five-axis cutting processing machine, when producing products with deep and narrow sections, the cycle time increases in product production due to the indirectness of tools, and many problems occur in processing. Therefore, dedicated machine tools and multi-axis composite machines should be used. Alternatively, an angle spindle may be used as a special tool capable of multi-axis composite machining of five or more axes in a three-axis machining center. Various and continuous studies are needed in areas such as processing vibration absorption, low heat generation and operational stability, excellent dimensional stability, and strength securing by using the angle spindle.

• Journal of Venture Innovation
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• v.4 no.3
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• pp.109-124
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• 2021

This study intends to find out the influence of a consumer's shopping style on impulse buying mediated by sales promotion, based on low-cost cosmetic goods. For the study, pleasure, economical, and convenience shopping styles were set as the independent variables, and impulse buying was set as the dependent variable, and as the mediating variable between the two, sales promotions such as price discount event, free giveaway event, and visit-inducing activity were reviewed. Accordingly, the influence relation of shopping style, sales promotion, and impulse buying were reviewed with hierarchical regression analysis to examine the mutual influence relation. The data for this study employed a structured questionnaire, and 230 copies were collected against men and women in their 20s-30s, who are the main consumers of low-cost cosmetic goods, and 197 faithful responses were analyzed, and the major findings from the analysis results are as follows. First, pleasure-style consumers were found to have influenced impulse buying, while economical-style consumers were found to have a negative influence, and convenience-style was found to have no significant relation. Second, as for the examination of the mediating effect of sales promotion, price discount event, free giveaway event, and visit-inducing activity were found to have a partial mediating effect on the influence of pleasure shopping style on impulse buying, and did not fulfill the economical shopping style mediating effect condition. Also, as convenience shopping style was found to be insignificant towards impulse buying, it was excluded from the mediating effect. Such result is thought to be a useful elementary material for establishing a sales promotion strategy according to shopping styles through the analysis of styles of major consumers in order to increase the sales of businesses. The theoretical and pragmatic implications of such study results were discussed and the future study directions were suggested.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.