• Journal of architectural history
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• v.26 no.1
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• pp.83-92
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• 2017

This paper studied Lee Han-Choel's career who was known as the first Korean who had participated in several survey and repair projects of Korean historic buildings as a field engineer during the Japanese colonial era. This paper investigated documents and drawings to find out what he had done specifically in the field, and distinguished the records he had written by handwriting comparison method. In addition, the author analyzed the contents of the articles he published and clarified their significance in Korean architectural history. Through this study, the author expected to clarify Lee's historical status as the first Korean modern expert in the field of historic building conservation, and to supplement the research for the history of Korean during the Japanese colonial era.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.29-38
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• 2014

This paper is to analysis covering and exposing elements through surface in the spirit of the time through the meaning of relationship between structure and symbol(ornament) in the theory of dressing of Gottfrid Semper. In other words, The purpose is to illuminate how complementary tectonic between structure and symbolic of an architecture surface is expressed in accordance with the biased required conditions relating with the paradigm of the era. The advancement of the new method of tectonic and the new aesthetic taste have a deep relation with the reconsidering the dichotomy classification discussing a dominant position between structure and symbol(ornament). Expression of surface representing the era comes across the combined interpretation of technology, structure, and the non-physical culture's art of the community and the era.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.147-156
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• 2001

The painting style has much influenced on the creativity of design in the developmental process of modern fashion. This fact tells that pure art and fashion design have the same purpose in the end. In this paper. the color Autonomy of Matisse was analyzed and how its result influences on modern fashion design was investigated. Matisse is, in fact. the leader of Fauvism and the painter who brought the Fauvism painting to its perfection in the purest state. Matisse achieved the revolution of new color with only the color in expressing formative factor. Matisse's color autonomy are fusion technique, flatness, decoration, simplicity, etc. To sum up the influence that this autonomy played on modern fashion design, intensive pure color expression, strongly-supplemented color effect among primary colors, decoration of color, simplicity of color, that is to say. he gave rise to the revolution of color, Many modern designers are applying this method to the theme of fashion and motive, color the technique of expression. Thanks to this. the new formative artistic expression could be adapted in fashion, and it also induced the inspiration of original design, with great contribution to bringing the era of its own distinct individualism in modern times.

• The Journal of Art Theory & Practice
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• no.8
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.184-190
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• 2000

If we take account of the Architectural Tradition which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. It is a continual trend from ancient to contemporary epoch especially in each transitional periods. Utopia is an ideal commonwealth in which inhabitants exist under perfect conditions, ideally perfect places or state of things. But, Dystopia implies skeptical perspective on the future which has emerged as a result of the increasing awareness about crisis concerning negative aspects highlighted by progress of science and technology since Modern era. Dystopia is the opposite of Utopia which was a propaganda used by Modern architecture and has characteristics of Post-Modernity. Utopias plans are complete projects of image, its goal is an improvement according to the eras. Its plans are characterized by rigid geometrical pattern as circle and square, which contain generally center·axis·enclosure·boundary·symmetry. Recent architectural circumstances no longer reflect utopian visions. Dystopias plans have described extreme mechanism, destructive offense, expression of fragmentation and differentiation in contemporary architecture. Therefore, as the Utopian architecture describes characteristics of the era unlike the continuity of its concept, the Dystopian architecture will find its expression differently while maintaining its basic concept and intention.

• Journal of the Korean Solar Energy Society
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• v.36 no.2
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• pp.9-17
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• 2016

In order to examine how accurately the wind farm design software, WindPRO and Meteodyn WT, predict annual energy production (AEP), an investigation was carried out for Seongsan wind farm of Jeju Island. The one-year wind data was measured from wind sensors on met masts of Susan and Sumang which are 2.3 km, and 18 km away from Seongsan wind farm, respectively. MERRA (Modern-Era Retrospective Analysis for Research and Applications) reanalysis data was also analyzed for the same period of time. The real AEP data came from SCADA system of Seongsan wind farm, which was compare with AEP data predicted by WindPRO and Meteodyn WT. As a result, AEP predicted by Meteodyn WT was lower than that by WindPRO. The analysis of using wind data from met masts led to the conclusion that AEP prediction by CFD software, Meteodyn WT, is not always more accurate than that by linear program software, WindPRO. However, when MERRA reanalysis data was used, Meteodyn WT predicted AEP more accurately than WindPRO.

• Journal of the Daesoon Academy of Sciences
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• v.18
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• pp.81-99
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• 2004

This text discusses trends in the construction of religions since the Meiji Era, using Konkokyo and Restoration Shintoism as examples. The construction of religions is applied here as the process of a deliberate acceptace of religious images as a discourse of "Civilization" endowed with "kyougi" or "Doctrine" and "kyousoku" or "Rules of Instruction." Winding through a meandering path, these constructed religions do not take precedence over "Jikyou" or "State Religion." Yet, "Jikyou" for a while was fixed in its own fragemented self-imagery. As for Shinto, in 1900, the Office of Shinto Shrines became independent from the Office of Shrines and Temples in the Department of Domestic Affairs, and clearly Shinto and Shinto Shrines were part of secular state ideology. In the Bakumatsu and Meiji Periods, it ultimately was cut off from Restoration Shinto, thereby achieving this development on its own. This tells of the formation of an entirely new and modern Shinto within a secular "Jikyou." Konkokyo, moreover, as a religion establishes "kyousoku" and "kyougi." As a Shinto sect, it takes steps on the path toward recognizing a self-identity, namely as religious Shinto. As a result, dogmatization and systemization progress, and "Byoukinaoshi" or "illness-recovery" from the Tokugawa Period weathers. Also, as for progress in the Shinto religious order, from its foundation, the characteristics of a unified state and religion emerge, and thus there is an acceptance of significant restrictions. This dillema continues to persist as a problem in postwar Japan. Shedding light on Tokugawa Era practice also sheds light on where we can now take religious concepts.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.491-503
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• 2019

In commemoration of the centennial anniversary of the March 1 movement in 2019, the research looked at the significance and influence of the March 1 movement on Korean history and highlighted what the church of the 4th Industrial Revolution era should play. The meaning of the March 1 movements to modern society has been identified as follows. First, the Church needs a clear sense of responsibility for society. Second, there is a need for attention to the next generation, the existing future. Third, practical education is needed for young people. Fourth, what is as important as a dreams is the value in it. Focusing on these facts, the study suggested what modern church roles should be like in the era of the Fourth Industrial Revolution. First, the church should attempt a missional approach that emphasizes the sense of belonging. Second, education for the next generation, called the Z generation, is paramount. Third, the church of the new era should be the leader of the civil society movement. Fourth, efforts are needed to realize the identity of the church. So the Church of the Fourth Industrial Revolution era should be a more missional community that reveals the kingdom of God in everyday life.

• Journal of Fashion Business
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• v.11 no.2
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• pp.14-31
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• 2007

The Vivienne Westwood's design is divided into four eras : The 'Punk and Ethnic Style' era, The 'Feminine Style' era, The 'Eclectic Style' era and The 'Retrospective Style' era. The aesthetic characteristics of Vivienne Westwood's design vastly divided into Parody and the Punk Couture. Westwood's parody is exprssed by british materials, that is traditional British tailoring, dressmaking techniques, traditional british fabrics and her debt to the past. Also Westwood has presented the special characteristics of Punk Couture showing Punk-Style clothes by applying Couture sense to her own Pret a Porter Collection. She pursued newness breaking the conventional aesthetic consciousness through her cutting, mix and match of fabrics and cordy of punk details. Westwood pursued new aesthetics by deconstruction and destruction regulated existing ideas that had been systematized, conventionalized and standardized by history and culture. She had shown pluralistic fashion through her design that exactly reflected characteristics of the modern society demanding variety.

• Journal of the Korean housing association
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• v.22 no.4
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• pp.121-132
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• 2011

Hanok with a long tradition in our country, but a significant period of modernization in the process of being cut off did not have continuity. Many of Hanok aging, according to the rapid residential development and life-changing was the subject of a complaint. Conversely, the benefits of Hanok was given to the advantages that compare to a monotonous mass housing of apartments. Despite these changes and the potential of these social needs and demands Hanok quickly did not respond: First, for the life of contemporary and traditional Hanok with a form of gap is a matter of space and style. Economy and lifestyle $20,000 for the era of Hanok was to develop a model for spatial configurations. Second, Hanok in a low density, is evaluated to aging, because increasing the economic utilization of land and tailored to their needs as a Hanok housing requires the development of a model, but this did not present a layered model. The purpose of this study is a modern residential Hanok persistence of this set to have 1) the spatial characteristics of traditional and modern urban life Hanok living space that meets the requirements of the degree of each other, to find sustainable elements, and 2) these demands the modern residential area type, combined with a set of Hanok 3) Korea Hanok cultural characteristics which set is created to residential housing types is to develop a basic research.