• Proceedings of the Korean Institute of Building Construction Conference
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• 2019.05a
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• pp.70-71
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• 2019

Glass fiber reinforced concrete (GFRC) is very suitable as a material for free-form concrete panels (FCPs) because of its lightweight, strong, moldable, durable and sustainable properties. GFRC is superior in construction and maintenance compared with materials such as steel, aluminium, titanium, glass and plastic, and is advantageous in cost. However, GFRC is being produced by skilled craftsmen, and still lacks the technology to economically produce high quality FCPs. Currently, there is a technology to automatically and accurately produce FCPs. However, the developed technology can not be applied to the field with simple production technology without production line for mass production. To solve this problem, the purpose of this study is a basic study of production system development of free-form concrete panels. This study introduces the developed FCPs production technology and builds FCP production system for mass production. The results of this study will be used as basic data for the commercial production of FCPs in the future.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.136-161
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• 2000

This paper is a study on the design of the gilt-bronze sarira caskets discovered in 1959 and 1996, from a east and a west three-story stone pagodas in Gameunsa Temple site which was built in 682. One of the most interesting discoveries is the ceiling with Bokdu(覆斗) design which can be seen in Dun-Huang grotto of China, reflected upon the ceiling structure of the cover (outer casket) and the square box (inner casket). The structure of these sarira caskets, as art crafts, directly represents architectural structure of Dun-Huang grotto that was made during the early T'ang period of China. Moreover, the sarira caskets are decorated with ornate designs and these designs also can be seen on the murals of Dun-Huang grotto. Accordingly, those sarira caskets tell us creative ability and international taste of Silla's craftsmen. By tracing the origin of structure and design pattern of the sarira caskets to Central Asian and Chinese architectures, it is able to understand international style of the sarira caskets of Gameunsa Temple site.

• Journal of the Korean association of regional geographers
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• v.3 no.1
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• pp.135-154
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• 1997

The purpose of this study is to clarify the reason of the change of production-and-marketing system and of the regional division. The data for this study were collected by administering interviews with people engaging in hemp fabric industry: namely, craftsmen and managers in the production and marketing of "hemp fabric" handcraft. The summary of this study is as follows: First, the hemp fabric industry is a main subsidiary business of agriculture in Andong. The process of making hemp fabric heavily depends on manual labor. The process is divided into five stages: namely, cultivating hemp, pre-reeling, reeling, weaving, and colouring. Second, Andong "hemp fabric" handicrafts industry had been continuously growth until the late 1960s. During the period of Japan colonization, it was under boom condition: while the other traditional fabric industries were declined. In the 1970s, the decrease of the demand of hemp fabric was the result of mass production of substitute goods on factory system: while, in the 1980s, the growth of per capital income play an important role in bringing about the increased demand of hemp fabric. Third, in the 1980s. production-and-marketing system was changed as the result of the effort to improve the quality and the process, the advanced age of craftsmen, and the weak function of existing marketing systems. The social division of labor within the district is well developed between cultivating hemp, reeling and weaving. The social division of labor is also found in the partly process of handcratfs, and between the production and marketing. The social division of labor between production and marketing is not strongly developed to establish a reliable enterprise that develops a new product and opens a new market. Fourth, the spatial boundary of the production of hemp fabric handcrafts becomes limited into a special region based on the regional specialization of hemp cultivating and the differentiation of utilization of labor.

• 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 the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.303-312
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• 2018

The university facility is made up of multiple buildings and has many maintenance items. In addition, administrative constraints need to be handled within a limited period. Most maintenance work is small scale and multi-work construction, such as waterproofing, needs to be organized. The facility manager makes annual unit price contract with a maintenance company and carries out the maintenance work. On the other hand, delay and rework is occurring because existing maintenance work performed without scheduling based on the manpower input. This study proposed a scheduling model that can support the facility manager to manage maintenance works of multiple university facilities at the program level. The model consists of three stages in order. In object analysis, details of the maintenance items were analyzed and the quantity is calculated based on the quantity takeoff sheet. In resource analysis, the craftsmen and construction period of detailed works are derived for the effective input of craftsmen. In scheduling, the priority of each work and the optimal manpower input are derived. The optimal schedule is selected according to the goodness of fit. The applicability and effectiveness of the prototype was evaluated through a case study and interviews with case participants. The model was found to be an effective tool to support the scheduling of maintenance works for the facility manager.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.52-67
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• 2021

This study is an attempt to explore the roles of and the collaborative relationship between Daheojang and Maedeupjang. Daheojang and Maedeupjang share a similar manufacturing process. However, in modern times, Daheojang totally disappeared, and Maedeupjang was designated as an intangible cultural property. The present study will investigate the role of Daheojang and Maedeupjang based on the literature of the Joseon dynasty. Daheojang were craftsmen who made bands and strings of woven or twisted silk strands. They made mangsu and tassels or made knots to produce magnificent artifacts. Maedeupjang complete all steps of the process, from refining, dyeing, combining threads, daheo, maedeup, to the tassel. Daheojang in the Joseon dynasty was the center of this process. Daheojang belonged to almost all Uigwe because it used items ranging from large uso to cushion straps. Dahoe is a craft with various items and techniques. It has been widely used to produce majestic items like formal dresses, ritual ceremony pieces, and mountings, as well as daily items like jodae, pocket straps, and norigae. Based on the records of Uigwe in the late Joseon dynasty, the study explored the collaborative relationship between Daheojang and Maedeupjang. Sambang, the room where both Daheojang and Maedeupjang belong, was the room to produce the royal chair. The royal chair essentially includes large uso. The large uso is an artifact that ties a knot in a thick circle more than two meters long. While Daheojang made rounded daheo, Maedeupjang made delicate and balanced knots. Also, they produced royal inscriptions together with a royal seal with decorative mangsu and a seal of thick rounded daheo. In order to learn about traditional technology, it is necessary to study the system of the times and social trends. Therefore, the study focused on Daheojang, who were common master craftsmen during the Joseon dynasty but now are not familiar to most people.

• Journal of Fashion Business
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• v.4 no.3
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• pp.67-78
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• 2000

This is a study on the art style of amimal fight in Scytian ornaments which had been popular in Steppe region of Eurasia. Animals were considered to have magical power and to provide protection against evil or disaster and representations of them thus occupied an important place in life. This style reflected the mythology, the ethical and aesthetic ideals of the warrior-nomad. With a magnificent understanding of composition and the essential nature of the material, craftsmen fashioned utilitarian objects in animal form: weaponry, horse trappings, clothes, ornaments and jewellery and other everyday objects were all decorated with zoomorphic motifs. Without copying nature, they accurately conveyed the essence of every beast depicted. The highly stylized modelling uses bold accentuated planes, while distinctive features associated with particular species are emphasized and exaggerated. The purpose and meaning of the animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been intended to guarantee the power of the aggressor.

• Fashion & Textile Research Journal
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• v.20 no.1
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• pp.22-33
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• 2018

The aim of the research study is to carve sustainable business strategies for the fashion communities in Ethiopia and Ukraine which are suffering today due to ever-increasing share of fast fashion consumerism. Fashion houses and international brands propagandize sustainability and consumption for better consumer base, where as originally sustainable local-based craftsmen still stay in the shade. Four communities/local designers are selected from the countries through the method of purposive sampling. Qualitative analysis is the basis of the research as we performed personal interviews and in-depth analysis of the communities to diagnose the problems and subsequently devise the solutions. In this research, we have studied and analyzed the problems faced by hereditary communities and ethnic designers in small and medium scale enterprise sector from two emerging economies. After the grounding the difficulties faced we advised strategies for sustainable future growth to the companies. The current academic literature on small and medium scale enterprises highlights the problems and solutions for general industry sectors. This paper brings attention to fashion communities and designers who promote national heritage and are struggling to survive in emerging economies due to industrialization and globalization. Moreover the comparison of the two geographies is unique in nature.

• Journal of the Korea Furniture Society
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• v.26 no.3
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• pp.196-206
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• 2015

A South Korea master craftsman had the best technology that oneself and others are certified in various fields. ChoSeokJin coach has continued the lifeline of the Korean wood furniture Jeonbuk region. It is already famous coach to award-winning Olympic coach and tournament of the world. Check his mental world and his life through the work of ChoSeokJin coach. Through a harsh process until the Republic of Korea master craftsman, it was an opportunity to reaffirm once again the importance of effort and commitment. South Korea wood chief coach (the field of furniture) growth phase of the No. 1 ChoSeokJin coach, Ripe stage and spirit such as through his neck furniture fabrication methods, he is him then and the situation until the coach and the intangible cultural heritage had asked We look at the world. The work of ChoSeokJin coach by research analysis separately in the previous fiscal year and late, his hope and neck that is a topic that has been internalized "I want wings that can over time attach to a tree." In his work We understand the passion for furniture.

• Journal of architectural history
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• v.16 no.3
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• pp.115-131
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• 2007

Jeong Woo-tae(?-1809) was a military official who had worked as Byeol-Gan-Yeok in the governmental construction works during the late 18th century through the early 19th century. Byel-Gan-Yeok, literally a special technician, was an official post in the governmental construction works that carries specific technical tasks from the mid 18th century. Over 30 years, Jeong Woo-tae had devoted himself in the construction of various royal tombs, city walls, and palace buildings. He showed superb and various techniques in the works of stone carving and architectural details. After finishing the construction of the tomb of King Jeong-jo's father successfully, he was appointed as a governor of a rural town. Being on duty of the governor, he used to participate in the construction works as a technician. He also made a couple of innovative devices in the field of construction, like a carrying apparatus, Byel-Nok-No. His works secured the setting up of the post of Byel-Gan-Yeok in the governmental construction system in the 19th century. But his technical achievement remained as his own private works rather than developing to the universal growth of the craftsmen's skill. This might be a limitation of the Byel-gan-Yeok's role, whose position was remained in the midway between official and craftsman.