• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.412-419
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• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.42 no.3
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• pp.193-205
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• 2019

Looking at recent safety accidents in buildings, most of them due to lack of FM expertise, and this is due to human resources. In each all industry areas, some companies are competitive, representational, and leading in the market through long-term expertise and research in their respective fields. In the field of FM industry, some companies offer core-competencies in internal and external innovative building management through competition with others. However, old custom and old management form still exist in the FM field. However, an old custom and old management system still exist in the FM field; it forces cost-cutting and caused by carelessness in technical development competitiveness and safety measures. The government control by safety inspection and facility inspection through legislation of building management, but the management is still weak as a side of in the facility management section due to inspect sth as a mere formality and submit a paper report. These facts exist different kind of usage of the building have a three-party encounter between a building owner, user, and FM enterprises. In this research identify survey, especially building owner (manager)'s choice perception priority for optional factors to choose FM enterprises. Based on this, FM enterprises will be forced to seek a new dimension for better building management. In this light, the purpose of the research is to shape changes in the FM market culture safely and providing better service in building management and understanding building owner's insight through this research's information.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.3
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• pp.105-116
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• 2018

POPS(Privately Owned Public Spaces) is one of the major component that vitalize the city by private sectors providing open-spaces to the public. It holds great significances and possibilities within CBD(Central Business District) which lack open-space and green-space. Despite of its importance, a large number of problems such as deficient accessibility for the public and being unpractical from constructing only with formality occur in existing POPS. POPS should be for both owners and public because it is a public space located within a private estate. To vitalize POPS, functions like "diversity", "accessibility and connectivity", and "usability" are essential. Providing diverse types of spaces makes dynamic city, and the spaces must have easy access by public and variety of functions. Managements by diverse types of POPS are necessary to improve availability and to provides suitable spaces. To make diverse types of POPS, advanced classifications of type and clear criteria are required. From aspect of accessibility and connectivity, firstly detailed instructions for the arrangement are necessary for reinforcement. Specific research on means of connection such as how many faces of POPS should adjoin streets and in which direction it should be facing should be applied. Purposes of POPS must be specified depending on the type of POPS. By connecting adjacent buildings with POPS, one of the main principal of vitalizing POPS, inflow of people can be increased. Accordingly, improvements of design guidelines in "diversity", "accessibility and connectivity", and "usability" can be suggested to vitalize POPS. With these concerns in mind, this paper analyzes problems of current Seoul POPS guidelines with three aspects.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.265-273
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• 2021

The main purpose of this study is to investigate the effects of social-face sensitivity and SNS social capital on ethical consumption in Korea. Online survey was conducted on 313 adults randomly sampled across the country. The results show that formality had relatively strong positive effect on ethical consumption. But, shame-consciousness had negative effect on ethical consumption. Secondly, the more bridging social capital on SNS, the higher ethical consumption. Lastly, it turned out that Twitter users have more positive ethical consumption than Instagram users. This study revealed for the first time the fact that social-face sensitivity could be a significant predictor of ethical consumption.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.533-538
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• 2024

The risk assessment under the Occupational Safety and Health Act was implemented in 2013, but since it is not mandatory, companies are operating it as a formality. Although legal obligations have been strengthened, such as the recent comprehensive revision of the Occupational Safety and Health Act and the enforcement of the Act on Punishment for Serious Accidents, the death rate has remained stagnant. Even if a risk assessment plan is properly established in order for employers to prevent industrial accidents through necessary measures, it is necessary to involve relevant workers so that they can understand and implement the contents of the risk assessment. In this regard, this study proposed applying efficient worker participation measures through on-site surveys to activate the participation of vulnerable workers in risk assessments. Key words : risk assessment, accident prevention, vulnerable class, worker participation

• Safety and Health at Work
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• v.14 no.4
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• pp.445-450
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• 2023

Background: The impact of COVID-19 infection on workers' work function persists even after the acute phase of the infection. We studied this phenomenon in Japanese workers. Methods: We conducted a one-year prospective cohort study online, starting with a baseline survey in December 2020. We tracked workers without baseline work functioning impairment and incorporated data from 14,421 eligible individuals into the analysis. We estimated the incidence rate ratio for new onset of work functioning impairment due to COVID-19 infection during follow-up, using mixed-effects Poisson regression analysis with robust variance. Results: Participants reporting infection between January and December 2021 showed a significantly higher incidence of new work functioning impairment (adjusted incidence rate ratio: 2.18, 95% confidence interval: 1.75-2.71, p < 0.001). The formality of the recuperation environment correlated with a higher risk of work functioning deterioration in infected individuals (p for trend <0.001). Conclusion: COVID-19-infected workers may continue to experience work difficulties due to persistent, post-acute infection symptoms. Companies and society must urgently provide rehabilitation and social support for people with persistent symptoms, recognizing that COVID-19 is not just a transient acute infection.

• Journal of the Korean Society of Costume
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• v.16
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.80-97
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• 2023

By taking wallpaper specimens from Gyeongbokgung Palace, Changdeokgung Palace, and Chilgung Palace preserved from the late Joseon Dynasty to the present, we planned in this study to determine the types and characteristics of the paper used as wallpaper in the Joseon royal family. First, we confirmed the features of paper hanging in the palaces with old literature on the wallpaper used by the royal family based on archival research. Second, we conducted a field survey targeting the royal palaces whose construction period was relatively clear, and analyzed the first layer of wallpaper directly attached to the wall structure after sampling the specimens. Therefore, we confirmed that the main raw material was hanji, which was used as a wallpaper by the royal family, and grasped the types of substances(dyes and pigments) used to produce a blue color in spaces that must have formality by analyzing the blue-colored paper. Based on the results confirmed through the analysis, we checked documents and the existing wallpaper by comparing the old literature related to wallpaper records of the Joseon Dynasty palaces. We also built a database for the restoration of cultural properties when conserving the wallpaper in the royal palaces. We examined the changes in wallpaper types by century and the content according to the place of use by extracting wallpaper-related contents recorded in 36 cases of Uigwe from the 17th to 20th centuries. As a result, it was found that the names used for document paper and wallpaper were not different, thus document paper and wallpaper were used without distinction during the Joseon Dynasty. And though there are differences in the types of wallpaper depending on the period, it was confirmed that the foundation of wallpaper continued until the late Joseon Dynasty, with Baekji(white hanji), Hubaekji(thick white paper), jeojuji(common hanji used to write documents), chojuji(hanji used as a draft for writing documents) and Gakjang(a wide and thick hanji used as a pad). As a result of fiber identification by the morphological characteristics of fibers and the normal color reaction(KS M ISO 9184-4: Graph "C" staining test) for the first layer of paper directly attached to the palace wall, the main materials of hanji used by the royal family were confirmed and the raw materials used to make hanii in buildings of palaces based on the construction period were determined. Also, as a result of analyzing the coloring materials of the blue decorative paper with an optical microscope, ultraviolet-visible spectroscopic analysis(UV-Vis), and X-ray diffraction analysis(XRD), we determined that the type of blue decorative paper dyes and pigments used in the palaces must have formality and identified that the raw materials used to produce the blue color were natural indigo, lazurite and cobalt blue.