• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.699-702
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• 2008

At present, the environment sculpture quite popularizes in the developed country and the area, each country or the city give the scope and the work style which the environment sculpture the concept as well as involves all are different. This article takes around the China reform and open policy the environment sculpture to make the comparison, analyzes the environment sculpture the diversity, promulgates the environment sculpture is develops along with society's development.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.41-52
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• 2009

In contemporary art, soft materials are used in various forms and ways as a medium expressing contingency beyond a simple nature of materials. In the late 1960's, the appearance of soft sculpture as a refusal of the stereotyped 'Erection' characteristic of traditional sculpture served as an opportunity for more attention to soft materials. Fashion is the reflection of age, and the mirror of society, culture and arts. In other words, soft sculpture and fashion are artistic behaviors in the same context, which have neither been fixed nor erected. This study finds its significance in analyzing correlation between soft sculpture and fashion, and the importance of contingency as artistic expression means in this age when boundaries between genres are obscure, and artistic values are given to fashion. By doing so, it aims to present the direction toward which fashion should face in the future, establishing a new aesthetic consciousness with which more creative and various expressions are available in fashion as well. This study presented as its theoretical background the concept of soft sculpture affected by Marcel Duchamp among representative examples of the contingency that started to appear in art starting in the early 20th century. It also analyzed the soft sculpture appeared in 1960s and the expression methods and features of contingency appeared in fashion after late 1990s through a new approach of piling up, hanging up, and tying, three categories classified by Maurice $Fr{\acute{e}}churet$. Common features of the contingency expressed in soft sculpture and fashion were derived in the analysis, which are intensive effects of energy, values given to physical properties themselves, and esthetics of anti-form.

• Archives of design research
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• v.17 no.3
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• pp.323-334
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• 2004

Environmental sculpture is not just a decoration for architecture. It is a work of art with public interest and one of the best ways to improve street landscape design. Place of installation is very important for environmental sculpture, because it has close relationship with its surroundings and regional context. Field survey was performed on Teheran-Street, between Samsung station and Yeoksam station, central business district of Kang-Nam where lots of major buildings are located. All the 28 environmental sculptures facing Teheran-Street were examined. Relationship between environmental sculpture and street landscape design was investigated by three different points of view, relationship with architecture, intimacy with pedestrian, and space defined by the environmental sculpture. Environmental sculpture needs its own space and appropriate place to have beneficial influence on the sense of place. Environmental sculpture is important factor to control the quality of street landscape design. We should have macroscopic approach to determine place of installation, method and material of Environmental sculpture.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.72-79
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• 2024

This study focuses on combining traditional craft lacquer thread sculpture and augmented reality (AR) technology to develop digital educational content. In this way, we not only make it easier and easier for children to learn and understand the traditional craftsmanship of lacquer thread sculpture, but also finds a new direction for traditional craft education. First, through literature research, the production process of traditional craft lacquer thread sculpture is summarized. Through an in-depth understanding of traditional craft lacquer thread sculpture, it provides a theoretical basis for subsequent AR digital content development to achieve educational goals. Next, we used AR technology to design and produce the digital content of the traditional craft lacquer thread sculpture. This study proposes the application of AR technology and the design and production methods of digital content. It is hoped that the methods and experiences we have proposed will not only provide reference for the development of similar digital content in the future, but also provide new educational methods for the inheritance of traditional crafts.

• Proceedings of the KIEE Conference
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• 2015.07a
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• pp.97-98
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• 2015

본 논문은 BLDC 전동기의 구동제어를 통해 Kinetic Sculpture라는 공학적인 조형물 설계 및 구현을 목표로 한다. 조형물 전시를 통해 사람들에게 시각적인 아름다움을 보여주고 효율적인 배치를 통해 상징성을 추가하여 부가적인 경제이익을 얻을 수 있다. 따라서, 본 논문에서는 11대의 BLDC 전동기의 연동제어를 위한 위치 및 속도제어 시스템을 구축하였고, ATmega128 마이크로컨트롤러를 이용한 상위제어기의 직렬통신 제어를 통해 Kinetic Sculpture의 구현가능성을 확인하였다.

• The Journal of Korean Academy of Prosthodontics
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• v.38 no.3
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• pp.336-347
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• 2000

Statement of problem. Luster loss in esthetic anterior ceromer restoration can occur and can be related with rough surface texture. Understanding durability of surface finishing methods like polishing and surface coating have critical importance. Purpose. This study evaluated the effect of tooth brushing and thermal cycling on surface luster of 3 ceromer systems (Artglass, Targis, Sculpture) treated with different surface finishing methods. Material and methods. Seventy-two samples were prepared: 12 for control group Z100, 12 for Artglass, 24 for Targis, and 24 for Sculpture. Half of the Targis and Sculpture were polished according to the manufacturer's recommendation. The rest of the samples were coated with staining and glazing solution for Targis and Sculpture, respectively. All specimens were subjected to 10,000 cycles between $5^{\circ}C\;and\;55^{\circ}C$ with 30 seconds dwell time. Tooth brushing abrasion tests were performed in a customized tooth brushing machine with 500g back and forth for 20,000 cycle. Luster comparisons were based on grading after direct observation, and light reflection area was measured with Image analysis software. Results. All materials showed an decrease in luster grade after thermal cycling and tooth brushing. The post-tooth brushing results revealed that the glazed Sculpture had greater mean luster grade than did any other groups. While, the stained Targis group showed greatest changes after tooth brushing (p < 0.05), polished Targis and Sculpture did not show significant changes. However, glazed Sculpture showed discretely fallen out glaze resin. Conclusion. From the results of this study, all of the ceromer specimens were much glossy than control composite group after tooth brushing. coatings used for Targis and Sculpture had not durability for long term use.

• Journal of Power System Engineering
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• v.20 no.4
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• pp.75-82
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• 2016

In this paper, we developed a 3D printing system using a photo-curing resin in order to reduce the surface roughness of a sculpture produced with the 3D printer. Using the pattern of the resulting variable thickness, that gave rise to a stepped shape, and the area error of the photo-curable sculpture, a study was carried out for the process to reduce the surface roughness. At a given value of stage velocity (40~70 mm/s) and output air pneumatic pressure (20~60 kPa), the minimum pattern thickness of the pattern was achieved $65{\mu}m$ and the maximum pattern thickness of up to $175{\mu}m$. To increases the pattern resolution to about $40{\mu}m$, the process conditions should be optimized. 3D surface Nano profiler was used to find the surface roughness of the sculpture that was measured to be minimum $4.7{\mu}m$ and maximum $8.7{\mu}m$. The maximum surface roughness was reduced about $1.2{\mu}m$ for the maximum thickness of the pattern. In addition, a FDM was used to fabricate the same sculpture and its surface roughness measurements were also taken for comparison with the one fabricated using photo-curing. Same process conditions were used for both fabrication setups in order to perform the comparison efficiently. The surface roughness of the photo-curable sculpture is $5.5{\mu}m$ lower than the sculpture fabricated using FDM. A certain circuit patterns was formed on the laminated surface of the photo-curable sculpture while there was no stable pattern on the laminated surface of the FDM based sculpture the other hand.

• Journal of Families and Better Life
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• v.19 no.5
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• pp.239-258
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• 2001

The purposes of this study are first, to develop the group counseling program based on Satir’s family sculpture technique, second to investigate the therapeutic factors of Satir’s family sculpture in group counseling. To perform this study, 8 session of time limited(3 hours) group counseling were carried out. There were 12 participants in this group. The major findings were as follows: 1) the rank order fro therapeutic factors were university, group cohesiveness, instillation of hope, family reenactment, self-understanding and altruism. 2) through the family sculpture technique, group participants saw their communication patterns. They found out that use communication patterns to hide their low self-esteem. They learned the alternative communication style. 3) the participants developed the sense of self-disclosure, empathy and trust in the group. Self disclosure, empathy and trust facilitated a deeper level of therapeutic group interaction. 4) in observing their group members do their family sculpture, participants found out that every family has some problem that the family conflict is universal thing, 5) the participants had opportunity to share their feelings that were hidden deep inside Intensive emotions following self disclosure led to catharsis, 6) the participants developed a good feeling toward their group and it led to group cohesiveness. 7) through the family sculpture technique, the participants gained a better understanding on their role and position within their families 8) through the family sculpture technique, they gained a better understanding of their family. They found their family members’ psychological positions and unfinished emotional businesses and thus they could restructure their family sculptures. 9) the participants had the opportunity to feel what it is like to become parents themselves, They became to see their parents as individuals. 10) the participants acted out what they wanted to do but could not do in the past. They saw the possibility of change and development in themselves.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.