• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.4
• /
• pp.99-111
• /
• 2012

This study intends to explore the collaborative expression in the modern fashion design by analyzing the collaboration of motifs symbolizing Korean cultural identity. As for the data research, in order to examine the expressional objects of collaboration in the collections of the fashion designers from Korea and overseas who have applied the Korean culture among their collections posted on the Internet sites, www.firstview.com, and www.style.com from 2005 to 2012 were collected for analysis. 923 pictures used in the analysis sheet. As for the research method, the content analysis method was used. In the modern fashion design, the collaborative expression in the motifs symbolizing Korean cultural identity are limited to tangible expression, intangible expression, integrated expression. The results of this study were as follows. First, in the tangible expression, traditional tangible assets are used in the shapes, items, colors, materials, patterns and details to symbolize uniquely Korean image. The intangible expression, the applicability for Korean intangible assets include the master's (intangible cultural assets) and the craftsmanship of the modern designers being collaborated onto the contemporary customs to express the Korean traditional culture in a realistic or an abstract trend. The hybride expression, it is to represent Korean thoughts and values using the tangible elements. Second, The expressivity of collaboration of each year mostly shows integrated expression, intangible expression and tangible expression were shown respectively. The trend of seasonal collaboration expressivity was muchly the integrated expression in most seasons, and intangible expression and tangible expression followed respectively. It is recognizable that the expressivity of collaboration of each designer was; integrated expression was muchly shown in Lie Sang Bong and Lee Young Hee's works, Duri Jung showed much of intangible expression, and much tangible expressivity was shown in Carolina Herrera.

• Korean Institute of Interior Design Journal
• /
• no.38
• /
• pp.266-273
• /
• 2003

The culture is a product of the century, and so a worldwide-recognized cultural legacy is like an incorporeal property owned by a country. It is a new legacy created In new environment conditions among countries. The meaning of this study is to give wider publicity to our intangible cultural properties through active database research. There are a significant number of museums that manage tangible cultural properties at a national level, but we can find that most stay very superficial in the aspects of database protection, classification system, and demonstration method. This is a critical physical factor that makes it difficult to create an information-oriented management system, or to manage intangible cultural properties as incorporeal entities. The preservation of tangible cultural properties may be a more proper approach of handing down valuable national characteristics to posterity In that they can show those characteristics more readily. Unlike tangible cultural properties, the preservation of intangible cultural properties requires a different approach and process. They are treated as a category of human cultural assets because of their incorporeity and formlessness. Since those intangible cultural properties to be preserved and quantified at a national level, it is an important consideration in the study on cultural properties. The objectives of this study are to present the intangible products by making the best use of the information society's merits; rediscover human elements constituting those products; ultimately help promote our cultural succession and development by databasing such human elements.

• International Journal of Knowledge Content Development & Technology
• /
• v.13 no.4
• /
• pp.119-137
• /
• 2023

In this study, it was intended to explore a way to build a DB which links the resources and areas and regions already registered as cultural assets in connection with a project which is newly building local culture and arts resources. Towards this end, this study first identified the type and scale of existing local culture and arts resources that could be linked. Following which, to link the local cultural resources and collected cultural assets, this study investigated the websites such as the Cultural Heritage Administration's National Cultural Heritage Portal, municipal and provincial tangible cultural festivals, municipal and provincial intangible cultural assets, and Gyeonggi Memory. Furthermore, this study identified the amount of information sources to be built and the current status of each information source to identify detailed information sources. Finally, the metadata of local culture and arts resources were presented by classifying them into material and publication data metadata, document metadata, audiovisual metadata, oral recording metadata, village information metadata, and personal information village information metadata.

• Journal of Korea Society of Industrial Information Systems
• /
• v.15 no.1
• /
• pp.25-36
• /
• 2010

Recently, digitizing technologies for conservation and restoration of tangible intangible cultural properties are coming into spotlight. Because cultural properties are easy to be lost and damaged over the years, After construction of cultural assets database we can reconstruct the cultural asset making use of the reverse engineering when needed, and implement digital contents such as computer graphics, 3D virtural realization, hologram, etc. So in this paper, we scrutinize visual and technical factors occurring in different types of digital restoration of cultural properties, and present problems and improvements, and try to research technological prowess and visual mechanism.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.15 no.3
• /
• pp.1770-1777
• /
• 2014

Coastal settlements have a diversity of tangible or intangible local assets and are environmentally sensitive areas. The value of tangible or intangible local assets is often overlooked and there is no enough consideration for the inhabitants who have a various and acute stake in the development process of coastal settlements. The development of coastal settlements without consideration for the local circumstance, resident's needs, and local characteristics makes it difficult to achieve sustainable regeneration. There are also alienation, conflicts, and the loss of a authentic sense of place because of physical oriented development without regard to the social, economic, and cultural aspects. This research defines the components and types of coastal settlements and draws the characteristics of them around the fishery ports in Busan in the aspect of sustainable regeneration. It will be the important methods for an integrated regeneration including not only spatial and physical regeneration but also social and economic regeneration which has the preservation of local culture with living conditions, local economy activation, and community building. It will also provides the bases of sustainable development, attractiveness, and competitiveness of coastal settlements.

• Korean Institute of Interior Design Journal
• /
• v.20 no.1
• /
• pp.109-116
• /
• 2011

As urbanization has evolved, a number of cities have been engaged in building creative power through branding. Cities contain much creative space and creative space within cities develops them. Cities are connected with space, which have a great influence each other, in particular, in cities of culture and art. Space contents in cities have various forms and types and work as important factors for branding of cities. In this high-touch generation, cities of culture and art have special meaning in that design of emotional generation, and cultural meaning of tangible and intangible assets in cities are their competitive power and sources of high added value. The cities of culture and art are oriented toward creative future globally and nationally. In cities of culture which seek for urban development by excavating artistic meaning and value through artistic and cultural development, their cultural meaning itself can become a brand, which effectively leads to building creative cities and marketing of urban brands. This study aims to analyse cases of cities developed through discovering or reactivating art and cultural meaning and value of urban space based on urban space contents. Then it analyses through what urban image, brands and marketing space contents were developed and suggests necessity of space contents development in small and middle sized cities. Therefore, based on the cases of art and cultural cities developed depending on space contents, it analyses and differentiate their various types and contents, aiming to show that any cities can be based on art and culture and creativity depending on creation, regeneration and development of space contents.

• Journal of the Korean housing association
• /
• v.27 no.3
• /
• pp.47-58
• /
• 2016

The new paradigm of urban regeneration, would promote the comprehensive communal view. Therefore, the community role has become an important and necessary for regeneration of communities. It is necessary for urban regeneration which should be matched with the regional characteristics, to develop an evaluation framework that can objectively and accurately diagnose the status of community; so it can be an integrated prescription. A new alternative, asset-based approach may be an alternative to build the community based on opportunities and strengths, which focuses on community inside and things that community have. In this study, a community asset is defined as the tangible and intangible components in the community. A community asset evaluation system is developed through the content analysis related to previous studies of several researchers who investigated the asset-based approaches. Community assets are classified into seven types: human, social, cultural, natural, physical, economic, and political property. Each type is classified into components and establish as a framework with 3 levels in order to set the indicators which can be measured concretely.

• Journal of the Korean Association of Geographic Information Studies
• /
• v.7 no.4
• /
• pp.98-108
• /
• 2004

The concept of community capacity is regarded as the ability of people and communities to do works associated with the determinant factors and indicators of the circumstances of socio-economic, environmental and physical contexts. Building capacity of communities to effectively analyze our problematic issues and planning of community development is often required to scrutinize current status of community of socio-economic and infrastructural capacity development with GIS. We consider community development as a planned effort to build assets that increase the capacity of communities. Spatial asset mapping is the process enabling to identify and make inventories of tangible and intangible assets. This mapping requires developing a capacity inventory that collects individual organizational and community capacities in view of human, socio-cultural, natural, financial, digital, and physical capacity. The purpose of this research is not only designed to suggest a new concept capacity building, but also proposes a more creative framework of asset-based community cap linking to parcel-based spatial asset mapping and capacity mapping process.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.1
• /
• pp.30-51
• /
• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.4
• /
• pp.146-169
• /
• 2018

Artificial or natural artifacts, which have historical, artistic, academic or scenic value as national, ethnic or global assets, are designated as "cultural heritages" under the Act on the Protection of Cultural Heritage. Cultural heritages can be divided into tangible cultural heritages, intangible cultural heritages, and monument and folklore heritages. In addition, depending on the object of designation, a cultural heritage can be designated either as a city or a provincial cultural heritage or a cultural heritage material, by a city mayor or provincial governor, and as a state-designated heritage by the administrator of the Cultural heritage Administration. The regular survey is a part of the policy for the preservation and management of state-designated heritages, which requires that surveys be undertaken every three to five years for the preservation, repair and maintenance of cultural heritages. It was stipulated in the Act on the Protection of Cultural Heritage in 2006, and since then has substantially contributed to the preservation and management of state-designated heritages based on the identification of damage to cultural heritages and the application of appropriate treatment measures. However, some parts of the guidelines on the regular survey, legislated in 2006, occasionally give rise to confusion in managing the regular survey system of state-designated movable cultural heritages, and need to be modified to facilitate the systematic management and improvement of the regular survey system. This study attempts to analyze the structure and operation of the regular survey system of state-designated movable cultural heritages, and proposes plans for improving the way of specifying each department which leads, manages and executes the regular survey, the process of entrusting the survey, and its guidelines and forms. I hope that these plans concerning the regular survey of state-designated movable cultural heritages will contribute to improving the quality and management of the system.