• Nuclear Engineering and Technology
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• v.53 no.6
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• pp.1964-1969
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• 2021

We developed a Dual-PPACs detector for fast neutron measurements that consists of two sets of PPAC: conventional PPAC and fission PPAC. A²³⁸U(U₃O₈) coating is placed in the fission PPAC's anode, which is used as the neutrons conversion layer. An experiment was performed to measure neutron time-of-flight (TOF) in which ²⁵²Cf spontaneous fission source was used. An excellent time resolution of 164ps has been observed at 6 mbar in isobutene gas. With the excellent time resolution of Dual-PPACs detector, exact neutron energy can be extracted from the timing measurement. The experimental detection efficiency was 1.9 × 10^-7, consistent with the efficiency of 2.5 × 10^-7 given by a Geant4 simulation. Ultimately, the results show that the Dual-PPACs detector is a suitable candidate for measuring fast neutrons in the future CiADS system.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.74-90
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• 1993

The genesis of Modern Architecture in Korea by Korean Architects can be explained by the Korean socio-economical condition. During the late 19c and early 20c many buildings had been constructed that contained modern function, But modern builings designed by Korean Architects appeared through the 1930s. The 'Hwoisaryung' which was a law to restrict establishing company in Korea since 1910 was extincted at 1920. Korean modern capitalists formed after 1920 could be clients of a modern buildings. The period of the formation of Korean modern architects met that of Korean modern capitalists. Korean modern capitalists commissioned Korean architects and Korean architects were able to practice only in the relation of its patron. Korean capital formed 6 per cent of total capital in Korea. Although Korean capitalists would be a patron of Korean architects, their requests of building were restricted to the commercial, the residential and the private educational buildings.

• Journal of the Korea Furniture Society
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• v.18 no.2
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• pp.120-128
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• 2007

This study explored the philosophical Modernity with the Enlightenment in relation to cultural and aesthetic modernism rooted in Modern furniture, which directly reflected modern culture and society with rationality, science, individualism, progressive, universal truths, etc, using qualitative analysis about the related literature as the principal methodology. A fundamental philosophy of the modern furniture influenced by Industrial Revolution is that the dictates of function and industrial technology must be decided by form. The theory and practice of the International Style in modern furniture came from the modern aesthetics in the philosophy of Modernity. As a result, as influenced through the Enlightenment project and the relationship of individual to society in relation to cultural and aesthetic modernism, and the three modern movements with furniture, which are Arts and Crafts movement, Art Nouveau, and Art Deco, represented the beginning style of modern furniture design toward functionalism or minimalism.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.52-61
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• 2005

Ecological traces appearing in contemporary architecture are based on modern architecture and most aspects on the contemporary architecture are related with the successive trend or break of the modern architecture. The concept of environment in the modern age has established clear destination, as it has been considered as nature. The architecture under a mechanical world view in the modem age has sustained the opposing connection with nature as environment. However, there have been architects maintaining the sympathy with nature in that vortex. This trend has been regarded as same context as ecological architecture and estimated to the outpost of ecological characteristics appearing in the contemporary architecture. This study is to make it clear that the ecological manifestation in the contemporary architecture is based on the ecology in the modem architecture through considering ecological ideals of architects in the modern architecture and considering space composition and structural properties in the modern architecture of ecological paradigm. The scope of this study contains spacial analysis, design strategy, and design types of organic architecture in nature, which has appeared from the modern age. First, the division into period is carried out according to the organic tendency of non-mainstream in the modern architecture: Arts and Crafts Movement, Art Nouveau, Sezession, Expressionism, Organic Architecture, Regionalism, Internationalism. Therefore, this study is significant to be on the search for a start to suggest ecological point of view to architectural space in modern architecture and is search organic characteristics for ecological characteristics in modern architecture; organic relation, thermal buffer space, regionalism, multi-layer, energy efficiency.

• KIEAE Journal
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• v.9 no.2
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• pp.73-80
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• 2009

In the early twentieth century, many architects still practised eclectic design elements. Emergence of new building materials such as steel, concrete and glass were not yet found fresh roles in architectural design. It was Brussels that the use of modern materials gave rise to their new forms and gave influence to not only building skins but also spatial organization. Art Nouveau architecture is often seen as revolutionary and pioneering modern architecture against eclectic classicism prevalent in the 18th and 19th centuries. Despite the fact that some scholars point out that Art Nouveau is more a transient phenomenon than modern architecture proper, no one would deny that Art Nouveau carries a good deal of modern characteristics. This paper intends to show rather ambivalent perspectives upon Art Nouveau architecture. Although it insinuates overly dynamic nature in architectural languages, it does not hamper us from reading Art Nouveau as a vital component of modern architecture. Through a careful analysis of the early domestic designs of Victor Horta, it becomes evident that his work can provide modern architecture a meaningful alibi for its growth. Victor Horta's house design is well known to the public, both for his classical tastes and for its changing implementation. Horta's modern quality is never adequately recognized, partly due to his eye catching modern iron properties and sinuous ornamentation. This paper tries to offer an insight into the complicated stage set of the fin-de-$si{\grave{e}}cle$ through the work of Victor Horta whose influence has been immense in the making of modern architecture.

• Journal of architectural history
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• v.24 no.2
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• pp.27-34
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• 2015

The tasks of writing history is to reconstruct the past in order to understand the present condition and to envision the future. Modern architectural histories in the west have assumed this role, from Winckelmann to Giedion. Likewise, history of Korean modern architecture has to serve this purpose. However, existing histories of Korean modern architecture simply list up stylistic changes from western eclectic architecture to modernism without any historical narratives explaining the transition from Korean traditional architecture to modern architecture. History of Korean modern architecture has simply been understood as a unilateral process of transplantation of western architecture into Korea. This paper points out two major problems underlying this kind of historiography of Korean modern architecture. The one is formalistic approach which sees history of modern architecture mainly as a process of formal and stylistic changes. The other is humanistic approach which sees modern architects as agents of history. This paper argues that this kind of history writings has limitations since modernity of Korean architecture is fundamentally different from that of the west. and that specific tasks that Korean modern architectural history has to address are then two folds;(re)connecting the past architectural tradition to the present and forming self-identity of Korean architecture.

• Journal of architectural history
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• v.19 no.6
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• pp.187-208
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• 2010

The purpose of this study is to understand the transition process of Korean architecture and urbanism from traditional state to modern state, by investigating the development of modern survey and the characteristics of survey drawings during the Great Han Empire (大韓帝國), the early modern Korea. The governmental efforts of the Great Han Empire to introduce a modern survey system named Gwangmu Land survey (光武量田事業) ended in failure. After the Russo-Japanese War (露日戰爭, 1904-1905), the Residency-General (統監府) held the hegemony of Korean Peninsula. It reintroduced a modern survey system for the survey of land and buildings all over the country and enforced the Land and Buildings Certification System (土地家屋證明制度). Since then, the land and buildings survey was propagated rapidly and the modern system for land use was gradually organized. With the progress of modern survey, the survey bureau of Cabinet (內閣) and Department of Royal Household (宮內府) created survey drawings that had some characteristics of colonialism. Takjibu (度支部) produced cadastral maps of major cities, with which the modern land system was developed. In addition, the Royal Property Bureau (帝室財産整理局) produced survey drawings of land and buildings owned by the Royal Household which were finally converted into modern facilities.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1786-1797
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• 2010

This study investigates the historical formation and characteristics of modern Korean consumption culture by reviewing previous literature about consumption spaces and conspicuous consumption in modern Korea. This study examined the historical formation and characteristics of three different periods of time: from 1876 to 1919, from 1920 to 1936, and from 1937 to 1945. In addition, the current study reviews previous literature related to advertising, poems, novels, historical events, and Orientalism. Based on this, the historical characteristics were also analyzed. The overall results were as follows: The first period from 1876 to 1919 was the beginning of modern Korean consumption culture, in which exotic goods such as foreign fabrics were preferred and consumed. In addition, clothing was simplified and westernized through modern reform. The second period of time, 1920 to 1936, was the development stage of modern Korean consumption culture that formed the foundation of modern consuming spaces where the recognition of the human form became more modern, and 'modern girls' styles appeared. The final period, 1937 to 1945, was the regression stage of Korean modern consumption culture, in which consumption decreased during the Sino-Japanese War and World War II. The results of this study' conclude that the leading-consumer items hold symbolic value as well as became signifiers within modern consumption spaces such as modern Korean department stores and that women were recognized as modern leading-consumers as shown by the dramatic increase in the number of products that targeted women.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.264-269
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• 2007

Modern architecture does a role in terms of connecting traditional and current architecture. In the same time, Which is important part of korean architecture history because of introduction of western architecture. Accordingly, At this meaninglessly going out and leaving of modern architecture, the purpose of this study is systematic researching of the modern Government Office interior. I progressed this study to research into the period context at construction of the modern Government Office and tendency of architecture and interior at that time. And then understand interior space organization of it. The early modern Government Office adopted Neo-Baroque style from tendency of that time. Also, showed composite order which is mixed in the Greek temple, the Renaissance and the classic style representing the power. But, after late 1920 It adopted Modern Style. This characteristic is different from current composit order, which is comprehended by our. In order to understand aesthetic value of current straight interior space, It have to be interacted the present and past. But It's averted because it was made in the period of Japanese imperialism. Therefore, We should explore history of interior design that is endowed with sociality and historicity between modern and future interior space as well as current.