• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.214-223
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• 2010

As the population of preschooler increases with the increment of employed women today, the physical environment of day-care center is becoming an important factor for the preschooler as well as home environment. In order to create a suitable and desirable day-care environment for preschoolers, the using behavior of the preschoolers, who are the main users, needs to be applied to the spacial design. In this research, play preference area of Korea and United States which have different physical environments are analyzed. Child behavior observation analysis technique, interview with the teacher in charge, floor plan and furniture arrangement plan of the day-care centers and photography were performed for this research. The subjects were 63 preschoolers of 50 months old who are using Korean and American day-care centers and play of five minutes per preschooler was filmed for 3 days. Total 01 189 motion pictures were analyzed for this research. As a result, the physical environment, programs, preference area and finally the similarity and difference according to the gender were clarified for each countries' day-care center. The Korean preschoolers preferred the block area most, the second most favorite area being art for the younger class and language for older class. According to the gender, girls preferred language area while boys chose block area. On the other hand in American preschoolers' case, due to the large variety of play area, the play preference was distributed among various area except several high preference area. Based on this research, when designing indoor play area of day care centers, the area of block, language, and art which are popular play preferences should be considered firsthand, and gender preference is also needed to be thought of. These results may be used as an important data for planning the day care center play area in the future.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.229-235
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• 2000

Although Frank Lloyd Wright represents himself as one of the greatest American master architect, the master architects contribution towards the advancement in the modern history of architecture goes beyond just creating landmark buildings. Through out his life, he was the leading architect not only in the area or architectural design but showed his talent in interior architecture, furniture, fabric, lighting fixture, art glasses, tablewares, silver wares as well as in graphic design which should cover all the elements related to the "total design" in architecture. As seen in his architectural design, the "total design" concept also reflects both beauty and logic of the nature and strengthens his theory of the organic architecture design. The research began with finding out the relationship between his architecture, nature and the supporting design elements mentioned above. the purpose of the research is to analyze the relationship of the spatial organization and the design elements in Frank Lloyd Wrights architectural works from the point of "total design" view and provide the valuable guide line for the development of the modern interior design. His design theory, based on the fundamental ideas of the nature, his organic architecture design, and reference materials to support total design concept will be discussed on chapter 2. And on chapter 3, application of the total design in his actual project will be analyzed. The data and analyzation have been completed based on written references and actual visit to the project sites. Frank Lloyd Wright placed highest value on the human beings and enjoyed presenting new ideas and forms to create better environment for the humans through his architecture and interior design projects. While he was presenting new ideas he continued to support design for democracy which has close relationship to the new frontier spirit of America. He was the master architect for the general society with accurate understanding of the life style of the public with design sensitivity shown in his concept of the total design.s concept of the total design.

• Journal of architectural history
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• v.15 no.2
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• Journal of the Korean housing association
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• v.18 no.5
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• pp.85-91
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• 2007

This is a case study for improving the sound environmental quality of cafeteria in university campus. The purpose of the study is to find out the present condition of physical level, type, and cause of indoor noise of cafeteria in university campus by comparison with a restaurant near campus. Research methods were field survey and questionnaire survey. Field survey was consisted of measurement on equivalent and instant noise level and observation on noise type. Respondents of questionnaire survey were 60 students using subject cafeteria or restaurant. Surveys were carried out in the 8th and in the 14th of December 2005. The results are as follows. 1) Indoor noise levels of the cafeteria were measured as $67.2{\sim}76.6$ (average 73.3) dB(A)Leq5min and $60.3{\sim}90.5$ (average 71.2) dB (A), exceeded the indoor noise recommended value of ASHRAE (American Society of Heating, Refrigerating and Air Conditioning Engineers). But noise levels of the restaurant were $61.6{\sim}70.4$ (average 66.9) dB(A)Leq5min and $59.8{\sim}70.6$ (average 64.9) dB(A). 2) The users's responses on major noise type in the cafeteria were 'noise by handling equipment and tableware', 'noise by moving chairs', and 'talcing noise', but 'taking noise' and 'background music' in the restaurant. 3) It was found that indoor noise level of the cafeteria was caused by sound reflection of finishing materials, noise diffusion by open type kitchen, and dragging noise of movable furniture.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.13-21
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• 2008

The purpose of this study is to analyze the development and characteristics of movable-housing planning concept. A document research method was used to analyze and classified the development of the movable-housing concept of 20th century. Through this study, the following conclusions have been reached; First, the origin of the movable-housing is from the prehistoric and traditional portable buildings, also due to the emergence of nomadic lifestyle using car traveling and mobile home in the 1920's. Second, the development of the movable-housing in 20th century was classified as follows; (1) In order to obtain the productivity and efficiency drawing from the industrialized-housing in the early of 1900s, movable furniture and flexibility was proposed. (2) American mobile home in 1920's, influenced by the development of car industry, was the most successful example of a factory-built building to be found in the world. (3) Dymaxion house and dome by R.B.Fuller, an aggregation of high-tech mechanical equipment, had a great impact on the development the concept of 'mobility' and influenced Archigram & Metabolist's movable capsule ideas in 1960's. (4) The lightweight materials such as plastic, duralumin and pneumatic structure were adopted for movable-housing in 1960's. Through this research, It is discovered that the stage of social development has close links with the developing aspects of movable-housing concepts. This study shows that the combination of three planning concepts such as flexible housing, mobile-housing and capsule will be more ideal in movable-housing planning rather than relying on just one type.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.45-52
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• 1995

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.6 no.1
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• pp.67-76
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• 1996

This study was performed to estimate total dust concentrations and particle size distribution of wood dust in the furniture and sawmill industries. To compare total wood dust concentrations, two samplers recommended by the American Conference of Governmental Industrial Hygienists and by the National Institute for Occupational Safety and Health were used. Concentration data were analyzed by paired-t tests using the SAS program and two parameters of the particle size distributions were determined by histogram. The results were as follows: 1. Particle size distributions showed a unimodal pattern in cutting and a bimodal in sanding operations. Mass median aerodynamic diameters(MMAD) were $17.35{\mu}m$ in cutting, and $1.39{\mu}m$ for small mode and $18.89{\mu}m$ for large mode in sanding operations. The proportions of particle size larger than $9.8{\mu}m$ estimated by the impactor were 61.16 % in cutting and 62.33 % in sanding operations, respectively. 2. The average personal total dust concentrations measured by IPM sampler were $17.12mg/m^3$ (GSD=1.45) from indoor samples, $2.97mg/m^3$(GSD=1.90) from outdoor samples in cutting, and $8.01mg/m^3$(GSD=1.58) from sanding operation. And those of by 37 mm closed-face cassette were $9.12mg/m^3$(GSD=1.46), $1.06mg/m^3$(GSD=1.99) from cutting, and $3.32mg/m^3$(GSD=2.16) from sanding operations. 3. The average area total dust concentrations measured by IPM sampler were $1.88mg/m^3$(GSD=2.04) from indoor cutting, $4.76mg/m^3$(GSD=2.83) from indoor sanding operations. And those of by 37mm closed-face cassette were $0.49mg/m^3$(GSD=2.34) from cutting, and $1.32mg/m^3$(GSD=3.03) from sanding operations. 4. The ratio of personal total dust concentrations measured by 37 mm closed-face cassette to those by IPM sampler were 35.7 %, 53.3 % from cutting, and 41.4 % from sanding operations. 5. The ratio of area total dust concentrations measured by 37 mm closed-face cassette to those by IPM sampler were 26.1 % from cutting, and 27.7 % from sanding operations. 6. A statistically significant difference of total dust concentrations between the 37 mm closed-face cassette and the IPM sampler was found.