• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Archives of design research
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• v.14 no.2
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• pp.197-207
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• 2001

A designed object reveals its meaning and image through form, color and material. Among these three elements, material has more powerful influence with its tactile and visual characteristics. In Korea, traditionally materials itself were mainly used to design artifacts rather than various color or formal decoration. The purpose of this study is to investigate the Korean traditional materials, and to classify them by the characteristics of their texture. For this study, the pictures of Korean traditional artifacts were collected from the national museums and literature. Those are architectural and interior elements, furniture, cloths and textiles, arts and crafts. Total of 533 collected artifacts were classified into seven categories, metal, day, stone, paper, wood, straw, fabric things. : 59 metal things, 115 clay things, 62 stone things, 73 paper things, 80 wood things, 47 straw things, 97 fabric things. Each materials were classified into its forming methods and surface treatment focused on the he characteristics of their surface texture. Throughout this study, the uniqueness of forming method and surface treatment of each materials in Korea has been clarified. And furthermore the classification by this various traditional methods of materials will provide plentiful information and ideas to today's designers of the world.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.4
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• pp.273-282
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• 2016

This study analyzed the origin and status of the registration system of water leisure craft to suggest an improvement plan for the ocean leisure industry. To identify the transition of the registration system, related water leisure craft, registration procedures and revised acts from "water leisure safety act", which was established in the early 2000 and enacted since then were examined. To understand the problems raised, the management of the registration system and related other systems were analyzed. The results were as follows. First, the registration system was designed just to check the number of registrations of water leisure craft so it does not provide various and useful information that administrators and registrants want. Second, it is impossible to utilize and reconstruct the information regarding water leisure craft. In addition, the current registration system does not have a data sharing system with the Ministry of Government Administration and Home Affairs so self-governing administrations are not connected to each other or to other electronic government systems. To resolve these problems, the construction of a new registration system is required. The new registration system of water leisure craft should facilitate not only processing registration files and administration work, but also multiple electronic governmental services that provide the water leisure users with useful information and encourage them to learn about their craft management and so on.

• Journal of Navigation and Port Research
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• v.41 no.6
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• pp.359-364
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• 2017

This study examined business acts related to leisure boats, so as to investigate the differences of regulations and things to be supplemented, as well as to suggest improvement measures. In order to achieve this purpose, the authors analyzed the respective legislations. The Acts on businesses using leisure boats(or power-driven water leisure crafts) are the Marine Transportation Act, Excursion Ship and Ferry Business Act, Water-Related Leisure Activities Safety Act, and Act on the Development, Management, etc. of Marinas. These Acts have differences in regulations, in terms of gross tonnage, the age of vessels, crewman, and the liquor traffic. These differences can cause problems such as adjusting the gross tonnage of the vessel by modifying the structures of the facilities, assigning old vessels, sailing without crewmen required for safety, and going against fairness in the liquor traffic in similar businesses. Such differences appeared to be caused by the lack of understanding of leisure boats and the series of new legislation which have been added one by one. It is required to raise the understanding on the characteristics of leisure boats and reflect them in the legislation.

• Journal of Digital Convergence
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• v.19 no.9
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• pp.283-288
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• 2021

Due to the 4th Industrial Revolution and the Digital Revolution, many changes are being made in the manufacturing method and structure in the field of plastic arts and crafts. Therefore, in this study, we tried to present a new work method suitable for this era by effectively utilizing the digital technology called 3D printer. For this study, first of all, the theoretical background of 3D printing technology was understood, and prior studies on the use cases of 3D printing technology were summarized. Based on this, three types of craft molds were produced using a 3D printer. As a result of the study, there were characteristics that appear respectively depending on the thickness or overlapping of the craft molds using 3D printing technology. First, in the case of the thickness of the craft molds, the thinner the strength, the weaker the strength, but there was an advantage in that it was easier to take out the contents of the molds. However, it was determined that the thick craft molds was stable to contain the dense and heavy material. Second, in the case of overlapping of craft molds, the advantages of both thin and thick molds were obtained as a result of using a double-layered molds. However, there was a disadvantage that the surface of the contents taken out was not smooth, so that post-processing was necessary. In future research, I hope to deal with the material of the filament used in 3D printers.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.4-17
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• 2011

The Baekje's cotton fabrics were excavated from 'Neungsan-ri temple site in Buyeo' (September 1999-April 2000) and stored at Buyeo National Museum after conservation treatment. In this study, it carred out non-destructive, chemical and morphological analysis for fiber identification, also considered on influx, features and difference between the 'Baek-cheop-po(Three kingdom period's cotton fiber)' and 'Mok-myeon(imported by Munikjeom, late Korea dynasty)'. As a result, the fiber proved cellulose fiber through analytical researches like color reaction, FT-IR(chemical analysis). It was also confirmed lumens, typical dimensional structure(morphological analysis) as an features of cotton fiber. The fiber was the first evidence in ancient Korea's cotton. But it can not prove that whether weaving were made in Baekje's area. However there were documentation that people in Beakje make cloth to silk fabric from 'Mahan period'. We can suppose that they have had an old weaving techniques. This study has a great historical, academic values as the only evidence for the hypothesis of a weaving technique of the Baekje's cotton. Through comparison to each region's ancient cottons, we can investigate the species of Baekje's cotton and ancient Korea cotton's influx.

• Science of Emotion and Sensibility
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• v.22 no.1
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• pp.65-76
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• 2019

Currently, the field of textile is expanding the scope of its research, which focuses on non-material values such as emotion. This study suggests possibilities for and applications of emotional textile design, using digital craft via empirical research focusing on the emotional significance of textile design. The results, obtained with a subjective evaluation scale developed for this study, were used to verify whether there is statistical significance in the differences between textile design using digital technology and textile design using digital craft. The experiment indicated certain meaningful implications for application of digital crafts through the application of textile design. First, ethnic emotions were not found to be significant but did increase in all three comparative analyses. Second, both modern and classical emotions decreased. Third, comparisons between digital textile machine and digital textile machine and craft showed a significant difference in sensibility. Lastly, the comparison of 3D printing and 3D printing and craft indicated a significant increase in elegance. Therefore, textile design using digital craft is thought to be able to deliver an ethnic, fun, and elegant sensibility, following the digital technology used. If the results derived from this study are used appropriately in the development and production of textile design, it can effectively support the development of emotional textile design. In addition, the results of this study provide objective data for the design of emotional textile through digital craft, which will provide important implications for the academic world and for practical production.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.24-43
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• 2018

Thirty-five of Hwaban of Jeongjagak had been built in the last three hundred years, which means a Hwaban was made in almost every ten years. Jeongjagak is a building that requires a certain ornamentation having the identical Gongpo type, called E-ikgong, and maintains the same shape for a long time. While Hwaban is an element that faithfully serves the ornamental role, the field study found that Hwaban-chogak went through various changes over the years unlikely to Jeongjagak. This study enumerates and classifies the various types of Hwaban-chgak by outlining the similarities/differences of the various types of Hwavanchogak, and by discovering what the craftsmen aimed to express through the Hwaban-chogaks. As a result, Hwaban-chogak can be generally divided into two categories depending on the starting point of Chogak: 'Downward-Type' and 'Upward-type' and the study tried to find the origin of that. The first represents the stems of Hwaban crafts flowing from top to bottom, and the latter showing the opposite direction. Around 1740s Upward-type can be chronologically caragorised as; 'original- type' which contains lotus and 'modified- type' which eliminates lotus. It is inferred that the modified-type was caused by the employment system of the craftsmen. It is also recognized that the main frame of Hwaban-chogak had been maintained despite the fact that Chogak became increasingly ornamental for the next a hundred years from the Hwaban-chogak drawings in Whaseong-seongyeog-uigwe, which was completed in 1796. The study has a limitation that the focus of the research is only on the Hwaban of Jeongjagak and expected to look into Hwaban in the context of other construction elements such as Ikgong, Daegong and Anchogong for further studies.

• Journal of Conservation Science
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• v.35 no.2
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• pp.169-176
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• 2019

The material composition of 19 ornaments used for women's hats in the late $19^{th}$ century to $20^{th}$ century, which are kept at National Folk Museum of Korea, was analyzed using SEM-EDS. Sixteen ornaments were composed of $Na_2O$ and PbO, which form adifferent lead glass from those that have been excavated or handed down since ancient times in Korea. The chemical composition analysis has confirmed that two ornaments belong to the mixed alkali glass, while one belongs to the potash glass IIItype. This lead glass is similar in composition to the Japanese craft lead glass that was imported to Joseon during the Japanese colonial era. It is estimated that the lead glass ornaments used in women's hats in the late $19^{th}$ century to $20^{th}$ century were made from raw materials imported from Japan or made from lead glass used for crafts in Japan. This shows that jewelry such as jade and amber, which have been traditionally used in the modern and present ages, have been replaced by craft lead glass imported from Japan.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.192-203
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• 2021

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea's transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye, which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop, As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era.