• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.22-29
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• 2010

Recent days, transition to ecological thought is being accelerating by environmental impact with a sustainable development. This symptom is no exception in architecture area. So is vernacular design affecting on modern architecture in many ways in terms of economical aspect and eco-friendly environment as well. Natural energy like solar power, environment, and terrestrial heat that applied in vernacular architecture is also widely accepted in name of 'sustainable energy' of which a design applied with ventilation and airing of natural wind is very useful & pragmatic in terms of economical reason. Accordingly, this study examined a relation between vernacular architecture and natural wind and compared it with traditional type and its feature of ventilation & airing. Ventilation & airing applied in the past can be divided into three categories: methods by convection, natural element, and architectural type. All these methods gave some pleasant felling indoors when there were no artificial energies. Even in modern age, such a ventilation & airing is being used with traditional type in different variety of materials, and it will be developed with modern technology without any extra cost in terms of sustainable expansion, and opened for further researches.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.45 no.5
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• pp.513-522
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• 2012

This paper reviews the Korean vernacular names of 35 cetacean species found in Korean waters and mentioned in 19 references, including laws, high school textbooks, and books on whales. The vernacular names of 16 species were identical in all sources examined. Some names have their origins in old Korean books, while others have recently entered public awareness through movies, TV programs, and the mass media; some species are frequently studied by researchers. Given the nature of vernacular names, that is, names used by people who live in sympatry with the animals, priority was not given high consideration in this paper. Instead, we carefully investigated the origin, publicity, and rationale of the Korean common names for the 35 species. All of these Korean names are also listed in "The World Cetacea Database (http://www.marinespecies.org/cetacea/)," which contains the most accurate cetacean systematic information on the Web.

• Journal of the Korean housing association
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• v.4 no.1
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• pp.5-16
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• 1993

This paper tries to find out the characteristics of the vernacular dwellings in Noksan area which has been a part of Kaya cultural realm. Through the analyses of its environments and several practical unit plans. The characteristic of the vernacular dwellings in thes arer are as below. The dwellings has been transfigured form [Omaksari] hut which is generally the smallest house form in Korea. The noticeable vernacular hut in this area is smallest 4-kan double-wing plan which is irregular 전 shape, but they call it single wing and 2-kan plan. Leed which can be obtained easily in thes area is used on roof and in wall. Timbers used in constrution are very slim or rather weak, but they were treated carafully. The chimney form in this area seems the results of minimizing of their being from the invasion of Japanese pirate, but also it seems an effective method of heat control. In conclusion, we cannot deny that the house form of this area seems affected by its exclusive natural and social environments.

• Journal of the Korean housing association
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• v.19 no.5
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• pp.121-129
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• 2008

This research considers the characteristics of the plan of the vernacular form of dwelling in KoCheon-Ri village, situated in the Yong-Dong mountain region. As part of this study, an analysis of local diversity is carried out. The current existing village houses in Kocheon-Ri can be categorized according to their floor structure, either as a wooden-floored or an Ondol-floored Kyup-jip(a double row house type). It was found that the wooden-flooded Kyup-jip house has been transformed into Ondol-floorded Kyup-jip due to a range of various factors. In order to clarify the characteristics of the vernacular dwelling type occurring in a particular area, it is important to determine the typical form that appears within the broader area. However, differences is also essential.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.36-37
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• 2002

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• (The)Study of the Eastern Classic
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• no.56
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• pp.297-329
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• 2014

This paper aims to examine the base inflectional forms of Korean old vernacular letters, and explain why it appears with frequency. In the korean old vernacular letters, the suffix 'ha-' and ending of the 'Base+ha-' adjective derivation are not appear with extraordinary frequency. I called it the base inflectional forms. I consider it in function and morphological constructions and also the syntactic constructions. Whenever Joseon-era people wrote a letter with a time limit, they have need to diminish their exertion to use of the brush. Therefore the base inflectional forms appear with extraordinary frequency in comparison with other papers. In the 'X ha-' word formation of Korean old vernacular letters, 'ha-' is formal morpheme without substantial meaning. So 'X' is left and 'ha-' and ending can be omitted resolutely. The base inflectional forms are occurred to voluntary language performance for a particular intention. but it is not appear in all conditions. In some circumstances, it appear. I checked out the constructions on base inflectional forms. In the 'X ha-' word formation, 'X' is predicative base without fail. and the ending which take part in base inflectional forms has a grammatical function unadulteratedly.

• International Journal of High-Rise Buildings
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• v.4 no.2
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• pp.91-101
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• 2015

This paper investigates tall buildings from an aesthetic and social, as well as commercial and environmental, viewpoint; as contributing elements in the fabric of a city. Against a backdrop of the large-scale homogenization of cities architecturally around the world, the paper suggests ten design principles which, if adopted in skyscraper design, could result in tall buildings which are more appropriate to the place in which they are located - physically, environmentally, culturally, socially and economically. In doing this, it promotes the need for a new vernacular for the skyscraper in each region of the world, and suggests this would have significant ecological, as well as social, benefits.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.69-88
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• 2016

The purpose of this study is to delve into the identity of the New-Hanbok style in modern fashion, and to survey its formative characteristics and internal values from the perspective of vernacular design. Arguments can be summed up as follows. The study historically examines the changes in Hanbok and concludes that the social and cultural backgrounds and factors that caused the advent of the New Hanbok are (1) the change and expansion of the basic social, cultural, and popular perception toward the Korean image, (2) the rapid spread of a subculture centering on the younger generation, and (3) the voluntary and systematic activities of nonprofit clubs, communities and private organizations. This is the cycle of the spread of Hanbok, which shows the subcultural selection and development process of upward propagation. Furthermore, the public, in addition to holding fast to an independent attitude regarding their choices, also show that they tolerate diversity. As a perspective of analyzing the New Hanbok style, the study suggests the characteristics of the vernacular design perspective as (1) a spontaneous indigenous nature (2) living everydayness (3) and the subcultural-ness of the era. From such a perspective, the study examines the formative characteristics of the basic costume configuration of the New Hanbok style including jeogori, traditional Korean skirts, Cheollik one-pieces, and Trompe l'oeil one-pieces, and draws out the meanings contained in the New Hanbok style, which are (1) spontaneous indigenous nature and directivity toward tradition, (2) living everydayness and modernity, and (3) open subcultural-ness.