• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• Economic and Environmental Geology
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• v.26 no.4
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• pp.455-464
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• 1993

Some nodules occur in the Milyang pyrophyllite deposit which are hydrothermal alteration products by Late Cretaceous andesitic tuff. These nodules are divided into two types on the basis of mineral assemblages; diaspore and pyrophyllite nodules. The diaspore nodules consist mainly of diaspore, kaolinite, pyrophyllite and pyrite with a small amounts of wavellite and tourmaline. They are light purplish grey in color, ellipsoid in shape and range 1 cm to 15 cm in size. A small or large diffuse band exists in some nodules. The platy coarse-grained diaspore is intergrown with the fine-aggregated kaolinite in the central part of the nodule. It appears that the grain size become fine from center to margin. The pyrophyllite nodules, which have the same shape with diaspore nodules, consist dominantly of pyrophyllite accompanied by small amounts of quartz, kaolinite, svanbergite, wavellite, tourmaline and apatite. Chemical compositions of alteration zones and nodules show that the wall rock alteration involved mainly the removal of large quantities of silica and alkalies and small quantities of Ca, Mg and Fe. The sharp increase in the Al content of the nodules is the result of residual concentration of alumina by the leaching of the mobile components. The pyrophyllite nodules were formed in the fluid saturated with quartz as ${\mu}_{HK_{-1}}$ and ${\mu}_{H_{2}O}$ increase. Under this condition, the pyrophyllite-kaolinite-quartz assemblage was stable. Diaspores formed from pyrophyllites in the fluid undersaturated with quartz as ${\mu}_{H_{2}O}$ increases (decreasing temperature). Under this condition, diaspore-pyrophyllite-kaolinite assemblage become stable. The formation temperature of the nodules on the basis of mineral assemblage is estimated as $275{\sim}340^{\circ}C$.

• Korean Chemical Engineering Research
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• v.50 no.1
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• pp.182-185
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• 2012

N-doped $TiO_2$nanotubes have been newly prepared by two stage sol-gel and strong-alkali hydrothermal process using $TiCl_4$ and hydrazine/ammonia aqueous solution as raw materials. These nanotubes revealed a well developed anatase crystalline phase and perfect nanotube morphology with the diameter around 10nm and the wall thickness below 3 nm. Also, they showed a superior visible light activity and yellowish color due to the light absorption redshifted by ~35 nm and ~25 nm compared to undoped $TiO_2$ nanotubes and anatase nanoparticles, respectively.

• Journal of Fashion Business
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• v.22 no.1
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.467-479
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• 2009

The high-tech computer technology developments have greatly affected the area of design education. Starting from the mid 80s, innovations in visual presentation methods have heightened with 2D computer graphic programs, CAD & 3D modeling, and Rapid Prototype that allows dimensional generation. The specialty and quality in design studio education have advanced due to the development in presentation methods such as Power Point and Keynote. But there are many problems with the current method of presenting the visual outcome in a data format using beam projectors, which is a vertical presenting method compared to the old studio study method of conducting discussions and reviews based on the substantial outcome. The essence of studio study that allows for comparisons and analysis by horizontally opening up the various work outcomes is being offset. Also the requirement for manual idea sketching work that plays an important role in the initial design phase continuing to decrease due to the digital working process dependence and cumbersome procedures in the presentation. In order to resolve this problem, the CALM system (Class Applied LCD Modular System) has been developed that replaces the method of attaching the sketches or renderings on the wall with a digital multi-display system. In a nutshell, individuals will upload the outcomes online and display them on the CALM system studio that is composed of 32 LCD (Columns: 4 $\times$ Rows: 8) monitors that are 19 inches in size so that various personnel can openly study the design outcomes. Also the central 42 inch PDP monitor that offers touch pad capability allows each design outcome to be described and examined by expanding. The concept phase of this development process has elevated to the production of an operating prototype that is being reviewed of its practicality. It is considered that the development of this system will decrease the extreme tendency of depending on digital operation but achieve revitalization of a more realistic and opened studio study environment compared to the individual consulting method of the old study approach.

• The Journal of Engineering Geology
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• v.32 no.3
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• pp.363-376
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• 2022

An area under construction for a living facility collapsed around 12:48 KST on 13 January 2021 in Sa-dong, Ansan-si, Gyeonggi-do. There were no casualties due to the rapid evacuation measure, but part of the temporary retaining facility collapsed, and several cracks occurred in the adjacent road on the south side. This study used the potential of synthetic aperture radar (SAR) satellite for surface property changes that lies in backscattering characteristic to map the collapsed structure. The interferometric SAR technique can make a direct measurement of the decorrelation among different acquisition dates by integrating both amplitude and phase information. The damage proxy map (DPM) technique has been employed using four high-resolution Constellation of Small Satellites for Mediterranean basin Observation (COSMO-SkyMed) data spanning from 2020 to 2021 during ascending observation to analyze the collapse of the construction. DPM relies on the difference of pre- and co-event interferometric coherences to depict anomalous changes that indicate collapsed structure in the study area. The DPMs were displayed in a color scale that indicates an increasingly more significant ground surface change in the area covered by the pixels, depicting the collapsed structure. Therefore, the DPM technique with SAR data can be used for damage assessment with accurate and comprehensive detection after an event. In addition, we classify the amplitude information using support vector machine (SVM) and maximum likelihood classification algorithms. An investigation committee was formed to determine the cause of the collapse of the retaining wall and to suggest technical and institutional measures and alternatives to prevent similar incidents from reoccurring. The report from the committee revealed that the incident was caused by a combination of factors that were not carried out properly.

• Proceedings of the Korean Society of Crop Science Conference
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• 2022.10a
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• pp.187-187
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• 2022

Purple-discoloration of the uppermost leaves has been observed in some soybean cultivars in recent years. The purpose of this study was to characterize the novel phenotypic changes between the uppermost and middle leaves via multiple approaches. First, quantitative trait loci mapping was conducted to detect loci associated with the novel phenotype using 85 recombinant inbred lines (RILs) of the 'Daepung' × PI 96983 population. 180K SNP data, a major quantitative trait locus (QTL) was identified at around 60 cM of chromosome 6, which accounts for 56% of total phenotypic variance. The genomic interval is about ~700kb, and a list of annotated genes includes the T-gene which is known to control pubescence and seed coat color and is presumed to encode flavonoid 35-hydroxylase (F3'H). Based on Hyperspectral imaging, the reflectance at 528-554 nm wavelength band was extremely reduced in the uppermost leaves compared to the middle (green leaves), which is presumed die to the accumulation of anthocyanins. In addition, purple-discolored leaf tissues were observed and compared to normal leaves using a transmission electronic microscope (TEM). Base on observations of the cell organelles, the purple-discolored uppermost leaves had many pigments formed in the epidermal cells unlike the normal middle leaves, and the cell wall thickness was twice as thick in the discolored leaves. The thickness of the thylakoid layer in the chloroplast the number of starch grains, the size of starch all decreased in the discolored leaves, while the number of plastoglobule and mitochondria increased.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.107-116
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• 2012

This study aims to investigate what degree do the hospital buildings carry out their role in regional scenery. To carry out this study the existing theoretical and field survey was conducted to the 44 private hospitals in small and medium-sized cities - Jeonju city, Kunsan city and Iksan city in Jeonlabukdo district. The contents of the survey are the general aspect of the polled, the image of the buildings, that of medical treatment parts, the relations to the regional scenery. And they are questionnaire surveyed to the 44 private hospital buildings. In questionnaire survey, the 35 professional architects who major architecture and related design and 118 citizens who doesn't major architecture are participated. The results of this study are as follows: 1. Those surveyed who answered those private hospital buildings which have their functional images are barely 20%. Some of 27% answered they have images of the commercial building. Especially in professional architects, 5% of them answered thet have their hospital images. It showed that they don't have their identity in the architectural expression in the processof architectural design. 2. The architectural facade elements that express their images in surveyed buildings are answered that architectural building form is 62%, architectural color is 27% and architectural material is 10% in turn. And the architectural elements that express their images in surveyed buildings are answered that building wall is 56%, architectural decoration is 32%. In this article, the reason why the ratio of the architectural decoration is high is that they don' have their identity in building itself. And they expressed their identity by their decoration, sign system not their buildings. 3. As the preference level for their images, some of the 49% of the total surveyed answered common. The general surveyed answered a little preference. But the architect professional group answered preference is 14%, not preference is 29%. The reason of this article is that the general surveyed are familiar with their buildings. So the questionnaire of the harmony with the surrounding scenery, 25% of the general surveyed answered that they are in harmony with surrounding but 22% of them answered that they are not in them. But In professional group, they answered 6% oh them are positive 37% of them are negative. This results suggests that the identity of the private hospital buildings are established in the process of archiectural design.