• The Research Journal of the Costume Culture
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• 제15권1호
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• pp.37-57
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• 2007

The purpose of this study was to analyze the body measurements of boys and girls at puberty and to provide the fundamental data for pubescent apparel manufacturers to produce clothing that reflect their physical characteristics. A total of 549 boys and 529 girls aged between 10 and 14 were measured in the capital area from March 4 to April 3, 2004. Data were collected from 35 anthropometric items and 12 photographic items per a person. SPSS Ver. 12 program was used in data analysis including means, standard deviation, t-test and Duncan test. The main results of this study were as follows. They showed the significant difference of their growth in accordance with the increase of their ages. There were also the difference between boys and girls. As for height and length items, boys showed a slow growth at the age of $10{\sim}11\;and\;12{\sim}13$. Those at the age of $11{\sim}12\;and\;13{\sim}14$ showed rapid growth. That is, an active growth was followed by a slow growth and that phenomenon repeatedly occurred. On the other hand, girls showed remarkable growth at the age $10{\sim}11$ and the growth rate gradually slowed down afterward. Regarding circumference items, boys at the age of $11{\sim}12\;and\;13{\sim}14$ showed remarkable growth. This results showed that boys at the age of $11{\sim}12$ had vertical growth and horizontal growth at the same time and for those at the age of $13{\sim}14$, growth was more conspicuous in horizontal direction. Meanwhile, for girls, the growth rate was high at the age of $11{\sim}12$, somewhat later than the age of the growth of height and length. As for breadth-related items and depth-related items, for both sexes two items grew steadily throughout the ages, breadth-related items showed a higher growth rate than that of depth-related items. This study analyzed the body measurements of pubescent boys and girls and the results showed that, for boys, an active physical growth took place at the age of 13 according to previous studies, but the findings of this study suggested that the phenomenon now occurred at the age of $11{\sim}12$, which proved that physical growth took place earlier than before. Also, an active growth was followed by a slow growth. Girls at puberty showed remarkable growth of height at the age of $10{\sim}11$ that is consistent with previous studies and then showed horizontal growth at the age of around 12, having a voluminous body shape.

• Proceedings of the KSME Conference
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• 대한기계학회 2001년도 춘계학술대회논문집D
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• pp.325-330
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• 2001

One of the principal components of the KSTAR (Korea Superconducting Tokamak Advanced Research) tokamak structure is the vacuum vessel, which acts as the high vacuum boundary for the plasma and also provides the structural support for internal components. Hyundai Heavy Industries Inc. has performed the engineering design of the vacuum vessel. Here the overall configuration of the KSTAR vacuum vessel was briefly described and then the design methodology and the analysis results were presented. The vacuum vessel consists of double walls, several ports, leaf spring style supports. Double walls are separated by reinforcing ribs and filled with baking/shielding water. The overall external dimensions of the main body are 3.39 m high, 1.11 m inner radius, 2.99 m outer radius, and made of SA240-316LN. The vacuum vessel was designed to be capable of achieving the base pressure of $1\times10^{-8}$ Torr, and also to be structurally capable of sustaining the vacuum pressure, the electromagnetic and thermal loads during plasma disruption and bakeout, respectively. The vacuum vessel will be baked out maximum $150^{\circ}C$ by hot pressurized water through the channels formed between double walls and the reinforcing ribs. A 3-D temperature distribution and the resulting thermal loads in the vessel were calculated during bakeout. It was found that the vacuum vessel and its supports were structurally rigid based on the thermal stress analysis. The maximum electromagnetic loads on the vacuum vessel induced by eddy and halo currents resulting from the engineering plasma radial and vertical disruption scenarios have been estimated. The stress analyses have been performed based on these electromagnetic loads and the resulting stresses at he critical locations of the vacuum vessel were within the allowable stresses.

• Journal of the Korea Fashion and Costume Design Association
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• 제8권3호
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• pp.27-34
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• 2006

Flexibility, love of symbols, small size-these are all qualites that accompany the proclivity towards compactness in Japanese culture. They developed and have been refined to an unusual level in Japan partly out of the necessity to use limited space economically, but these qualities also characterize the aesthetic preferences of the people. Because space is so precious, it receives a great deal of attention in every aspect of life. Over the centuries Japanese have devised innumerable ways to use space that are ingenious in their successful combination of pragmatism, harmony, and beauty. Folding, stacking, rolling, nesting, carrying, consolidating, miniaturizing and transforming are some of the techniques for living that have created the compact culture. Folding allows a one-dimensional object to be placed in prescribed small space. Stacking objects of the same shape makes use of vertical space, saving valuable horizontal space. Rolling an object reduces it to a tidy cylinder without creasing it, creating yet another form of repose for functionally flat things. Nesting several identically shaped objects of graduated sizes is known as ireko. Carrying things by hand makes them available for any occasion, by plan or on impulse. Consolidating is to bring together the multifarious systems of living into an integrated whole. Miniaturizing things is a way to bring even the universe down to the scale of a human hand. Transforming the face of things is another notable propensity in the Japanese life style. Each one is put to use in countless ways, suggesting principles and conceptions that encapsulate the wisdom of tradition. In this study I wishes to investigate the principals of Japanese traditional design and the applied case in fashion goods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제35권3호
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• pp.105-112
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• 2017

Construction and urban development projects that drove urbanization were perceived as a main culprit that disturbs environment and ecosystems, including urban heat island, air pollution and a decrease in species diversity in urban area, as they do not consider natural environment and adopt consistent development behaviors and rapidly degrade the ecology of development sites. In order to build a sustainable green wall system, design process is configured as follows based on basic technology development direction, climate environment elements, climate design technology elements suggested earlier. Each part of required technology element is codified systematically and a sound Korean-style green wall system design direction will be suggested.

• Journal of the Korea Fashion and Costume Design Association
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• 제10권1호
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• pp.45-53
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• 2008

Different method of textile fabrication had existed since the ancient times, but the most dominant form was the 'weaving' method which embodies the cross fabrication of vertical and horizontal threads using special weaving machines (looms). In addition, fabrication methods like knitting, felt, and lace were commonly practiced while intertwinement methods like twisting, braiding, and knotting techniques were frequently used for weaving strings and braid type textiles. In the past, people did not pay attention to strings and braids because they were classified as non-textiles, but, in this paper, we have expanded the scope of definition of textile to include strings and braids, and seek to conduct in-depth research on various different intertwinement of textiles. The adaptation of intertwinement method in arts and crafts enables limitless creative works reflecting the ever-changing taste and style of the creator. This creativity is further broadened by the fact that intertwinement methods encompass no set patterns and the subject and shape of its creation is as broad as its artistic pursuits. We can infer the knowledge of our ancestors, their aesthetic taste, and the pattern of life from these creations. In addition, these creations can provide comfort and improve the quality of life of modem people who are deeply deprived of sentimental and emotional solitude in the technological civilization of the 21stcentury. The main purpose of this paper is to examine traditional Korean arts and crafts made using the intertwinement methodology through the context of strings, braids, straw crafts and knotting method. Then it will conduct through research on the different materials, forms, characteristics, usage and other key notions based on the currently preserved records and relics to contribute to the research on traditional textiles and provide the foundations to the development of the Korean culture and cultural products, reflecting the true sole and aesthetics of traditional Korean textile crafts.

• Journal of the Korean Society of Clothing and Textiles
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• 제35권8호
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.

• Fashion & Textile Research Journal
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• 제6권3호
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• pp.266-274
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• 2004

This study is on the sensitive image of pattern expressed in the color & formative types of traditional Jokakbo(scraps of cloth). The object of this research is Korean traditional scraps of cloth in the latter period of Chosun Dynasty. This study is to be classified into 10 formative types like square type 1, square type 2, diagonal type, diamond type, many color striped type, concentric circle type, pinwheel type, vertical line type, cintamani pattern type, and free style type to apply the design of Jokakbo to Korean design. And color group is divided into vivid tone and pale tone. And it constitutes 17 patterns from the combination of these two types. As for the factors of constitution of scraps of cloth, it consists of factors like revelation, attraction, temperature sense, abstract, and rigidity. In the emotional image in the patterns, both vivid tone and pale tone showed dynamic and warm emotion together. Also, the factors of revelation and attraction were evaluated as opposite images, and it evaluated the plain and dim emotion as more attractive emotion. They preferred the pale tone to the vivid tone. They preferred the cintamani pattern in the vivid tone, and the diamond pattern in the pale tone most. From the research result above, this study made the abstract image of scraps of cloth standardized and prepared for a basis to execute it essentially. This research will be used as basic data to make traditional Korean image spotlighted in the world fashion markets as well as it will be helpful to the development of pattern design for the scraps of cloth essentially.

• Korean Journal of Human Ecology
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• 제18권3호
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• pp.793-798
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• 2009

Hair cut is one of the best useful technical tool for hair styling. In this study using the rule of the layers of hair design, balanced for visual art, perceptual ability and form created by the principles of analysis and offer hair cuts and hair design of the representation of regions and even hair design as the basis of a student of Hair Beauty and all the people working in the field can create a variety of hair design puts the purpose to establish a basis. The result of this study can be outline as follows: First, the step line and the movement of the relationship between the law of the layers above and below the length of the same layer techniques, the same consists of a vertical cross-section of the overall round shape of the cut same layer is created and the appropriate volume and movement, the movement of low-layer round a little bit more feeling and expression is used when you want. High-layer used to want to move a lot of light and could see that. Second, the layer of the Law and over direction, lifting, section, the line control. weight control and analyzed by principle and the principle of the process of forming the written form was unknown. Third, hair design, the expansion of the expressive power of the law of the layers, and the section of the over direction depends on the presence of line control to express the length of the outline I had to, lifting the weight to adjust form controls, and the expression of Hair Design will be expanding the width. A hair designer, a layer style to create a zone he thought the law of the first layer formative area To further the reach will be a lot of research, leading up formative aspects of this research thesis do not have missing parts, or as a result of the Beauty of Hair Design and the width of a hair design education in the field can perform to help feed the reference materials that will be.

• Archives of design research
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• 제14권
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• pp.321-333
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• 1996

The typeface of the Shhnch 'ongjon woodblocks is unsophisticated and old-fashioned while at the same time having a tidiness and strength that give it its special appeal. This is the typeface used in publishing novPls for sale to the common people during the latter half of the Choson Dynasty_ Their demands could not be satisfied with most currently available literature. which was intended to suit the tastes of the official class. As a result of a development to overcome the unbalanced use of space characteristic of letterforms that followed the geometric principles of early Hangul. the typeface followed the refined. feminine "hrushstroke" style of kungch 'e. establishing itself as a "rough" face displaying the characteristics of carved. woodblock printing in answer to the needs of the common p-eople who had the greatest need of Hangul during the time of its f1owering. The Shhnch 'ongjon face is characterized by thin horizontal strokes. thick vertical strokes. and the appearance of being condensed left to right. They possess simple yet varied form. With these characteristics the Shimch' ongjon typeface. if revived and compared to other typefaces. has a beauty of structure and composition and a unique. modern lmage with excellent readability. giving it great significance for modern r langul typography.r langul typography.

• Conservation Science in Museum
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• 제23권
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• pp.91-108
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• 2020

This study conducted non-destructive analyses of the material features of seven gilt-bronze crowns of Baekje Kingdom that were excavated in the Cheonan, Gongju, Seosan, Iksan, Naju, and Hapcheon areas. A typical Baekje gilt-bronze crown has a conical inner crown and an outer crown embellished with vertical ornaments on the front and the back, a tube topped with a hemispherical ornament, and other ornamentation. Diverse designs (e.g., dragon, bonghwang, flowers, and plants) were applied using a range of techniques, including repoussé, chasing, openwork, and engraving. Formal features differ among the crowns according to their period of production and site of excavation. The substrate metal of the crowns is either pure copper or mixed copper with a small amount of lead. The crowns were amalgam-plated on the surface with pure gold or gold with a small amount of silver. The crown from Okjeon Tomb No. 23 in Hapcheon in the ancient Gaya region has a high silver content, which appears to be a regional feature. In addition, this crown from Okjeon Tomb No. 23, which can be categorized as Baekje-style gilt-bronze crown, seems to be plated at most three times, while the gilt-bronze crowns found within Baekje Kingdom territory were plated once or twice.