• Journal of architectural history
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• v.17 no.5
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• pp.71-94
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• 2008

This study examines the examples and changes of wooden member terms in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. As a result of examining examples, about 240 wood member terms were found on the basis of phonetic value and examples different from today's term use were also confirmed. Wood member terms were derived in variety and synonym and different style, that is, coexistence or transition of several notations as the term indicating the same member was found. Derivation of detail terms has the characteristic increasing on the basis of morpheme and formation of different notation followed Chinese notation or was caused by complex coinage features like a coined word of Korea by the meaning of a word and borrowed character notation borrowing sound and it is also related to the specificity of that time which had dual language system. The typical examples without different style for long were pillar, rafter, door and window. Examples with active generation and selection of different styles included beam, capital and bracket-system terms. Different styles were caused by the combination of several notations including borrowed character in the process of Chinese character notation borrowing sound, Korean unique character emphasizing and limiting combination of 木 (wood) with side of character and Chinese. Period showing remarkable change of example notation was the compilation of ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ 華城城役儀軌. ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ is the representative type uigwe made by printed type not by handicraft. Printing by type accompanies unification of the shape of a character necessarily and it was considered that it resulted in the unification of character of different style, the number of strokes and minute difference of strokes, and it was interpreted that common use of intentional notation with the unification of the shape of a character was achieved.

• Journal of Engineering Education Research
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• v.23 no.5
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• pp.68-75
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• 2020

In order to cultivate the talents acquired in the fourth industrial revolution, developed countries' government are actively engaged in the campaigns encouraging K-12 students to participate in the maker movement. Maker education is regarded as one possible solution based on high tech in the era of the 4th Industrial Revolution, and it is spreading widely along with STEM education. In South Korea, STEAM education was actively conducted nationwide, and since 2017, STEAM and maker education have been linked showing mutual development. However, compared to STEAM education linked to the curriculum, comparison and activity-based research on maker education for teenagers is still insufficient. Therefore, this study aimed to suggest implications for STEAM education and maker education by analyzing the motivation of Korean youth to participate in maker activities. The subjects of this study are high school students who participated in maker education programs in student community for the first time in Korea. In this study, students were classified into engineering-related career group and non-engineering-related career groups based on their career intentions, and the motivation and understanding of participation in maker activities were compared. As a result of the study, male students participated more in maker education community activities than female students, and the engineering-related career group had a higher intention to participate in games, outdoor activities, IT equipment, digital production, and electrical/electronic production activities than the non-engineering-related career group. In addition, in the fields of handicraft/art, home baking, installing, and horticultural agriculture, there was no difference in the intention of participate in the engineering-related career group and the non-engineering-related career group. It was found that the engineering-related career group believed that there was a strong relationship between the maker education community activity, career exploration and future career choice, while the non-engineering-related career group believed that the relationship is less strong. It was also found that the engineering-related career group was participating more actively in the maker activity than the other group.

• Archives of design research
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• v.12 no.4
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• pp.5-14
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• 1999

From the middle of 1970s were founded new basis for the development of craft through the co-operation of the civilians and the authorities. First, Korean Culture and Art Foundation founded in 1973 held the 'Invitation Exhibition for the Craft Artists All over the Country' in 1974 and 1975 and The National Museum of Modern Art held the 'Exhibition of Modern Korean Handicraft Art' in 1975. Second, the policy emphasizing the export and tourism provided the basis for the development of design for export goods and souvenirs of tour. H\therefore the exhibitions of such goods were held by many organizations. ] In 1970s departments of craft and design were newly established in the universities so that the third generation of Korean craft was on the rise and their groups began to hold exhibitions in commercial galleries. Reflecting on such circumstances, 1970s was the period of blossom for Korean craft while 1960s was a sprouting season.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.384-397
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• 2019

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children's collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children's clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children's collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in $appliqu\acute{e}s$ and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children's clothing collections. Fifth, playfulness functioned to enhance the children's clothing's wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing's value by fusing with other characteristics such as handcraftedness and naturalness.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.149-162
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• 2019

The purpose of this study is to suggest various directions of living hanbok and proposed the living hanbok design that integrated the tradition and the contemporary, as well as the past and present with denim material that represents the youth cultureby while using the motif of Korean Jogakbo. For the research method, the data on living hanbok, denim, and Jogakbo were surveyed to develop and produce a living hanbok design. The development of a living hanbok design emphasized the meaning of longing for an accumulation of good fortune, by using the concept of 'wishing for fortune' including the symbolic images of denim and Jogakbo. The production results of this study are as follows. First, the Jogakbo motif consisted of patterns yearning for harmony, great fortune, longevity, and many children, and the living hanbok design integrated with the denim material symbolized the convergence of the past and present and the harmony of eastern and western cultures. The study could verify that the living hanbok design was recreated in a contemporary sense to be used everyday by expressing contemporary senses in a traditional image. Second, leftover fabric pieces and recycled materials that can be abandoned by the material market were used for denim. This study could also develop the living hanbok design as a sustainable design through upcycling, an important social trend, puting an emphasis on carrying out socio-ethical responsibilities. Third, denim Jogakbo work, which is connected by small pieces of denim material, used to be a difficult and labor intensive handicraft, but it could be proposed as a new high value-added fashion and generate contemporary living hanbok with a new image.

• Journal of Ginseng Culture
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• v.1
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• pp.67-77
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• 2019

This study tried to evaluate the official Korea Red Ginseng(Hongsam) trade in 19th century. The Hongsam trade activities of the 19th century also show that the collected amount of Posam taxes (Hongsam taxes) alone outweigh the amount of cost spent during the same time period to launch tributary actions. It is quite obvious that the Chosun dynasty, supported by the developed techniques of ginseng cultivation and preservation methods, managed to stop the silver leaks while also stimulating the domestic commerce, handicraft business and mining operations, by exporting Hongsam to China and importing raw material and other finished products in return. The Chosun government also managed to secure considerable amount of marginal profit which at times mounted to almost 2 hundred thousand Nyangs of silver during the latter half of the 19th century thanks to this Hongsam trade activities, and accumulated the hoof-shaped pieces of silver ingot at the office of Ministry of Taxation. Even under the mostly undesirable political environment featuring unjustified deeds of the powerful houses, the commercial activities were being strongly maintained, and the transactions conducted by merchants of the Gaeseong, Euiju areas and the capital city were prospering.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.828-848
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• 2021

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

• Journal of the Korean Wood Science and Technology
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• v.52 no.1
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• pp.1-12
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• 2024

Betung bamboo (Dendrocalamus asper) is used as a building and handicraft material in Indonesia; however, bamboo needs to be dried to increase its stability. This study aimed to evaluate the efficiency of drying bamboo using solar energy and different drying oven designs. The betung bamboo pieces were dried using a direct solar dryer (direct drying) and an indirect solar dryer (indirect drying) and then the decrease in levels that occurred based on the relative humidity (RH) and temperature values achieved in the two dryers were compared. The highest average temperature in the direct indirect drying oven compartment was 60.1 ± 13.1℃ with 19.9 ± 16.4% RH and 60.2 ± 11.9℃ with 19.5 ± 15.5% RH, respectively. The drying defect in indirect drying was lower than that in direct drying, and indirect drying had a 61.7% greater average water loss than direct drying with significant difference (95%, analysis of variance) based on water loss/compartment volume parameters. Thus, the solar drying oven can be used to air-dry bamboo (14%) for 7 d from an initial moisture content of 70%-80% in bamboo strips. The results of this research can be used for small-scale bamboo processing industries that have limited use of electrical energy with quite good results.

• Journal of Fashion Business
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• v.28 no.2
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• pp.92-108
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• 2024

This study examines the measures and implementation strategies needed to develop sustainable design from an international perspective, using examples of sustainability practices and product planning from Helen Kaminski, a representative fashion brand of positive luxury. The research method includes a literature study on positive luxury, a case study on positive luxury brands, and an empirical study where the researcher participated in the development of Helen Kaminski's design. The study identifies the following measures needed to develop designs for sustainable products: First, the development of designs that increase circularity; Second, the use of certified materials and strict adherence to material usage; Third, the simplification of production methods or development of new technologies for this purpose; Fourth, ensuring that design development incorporate the traditions and unique handicraft techniques of the local community. The implementation strategies required for a sustainable product planning process are as follows. First, changes in the product planning stage and expansion of participating members are needed. Second, securing and conducting prior inspections of the supply chain for ethical sourcing is required. Third, prioritizing the use of eco-friendly materials and material development. Fourth, establishing a stage for selecting and evaluating objects that will become representative designs with sustainability. As a result, this study can serve as basic data to strengthen corporate competitiveness and establish itself as a fashion brand for sustainability through actionable strategies applicable to the domestic fashion industry in the future.

• The Research Journal of the Costume Culture
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• v.32 no.1
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• pp.108-123
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• 2024

This study aimed to explore sustainable fashion design plans and directions by analyzing Marine Serre's collection. Previous research was reviewed to derive classifications of the aesthetic characteristics of sustainable fashion design. This classification was then used to analyze the characteristics of the Marine Serre collection. Design analysis was conducted on Marine Serre's 2018 FW to 2023 SS collections. Marine Serre's sustainability characteristics are functionality, surprise, handicraft, and inclusion. The results are as follows. First, functionality is the highest among the four characteristics and includes the functionality of movement, the functionality of form, and futurism. This characteristic was observed in the use of all-in-one body suits, pockets, and workwear, showing the will and values of designers who value daily activity. Second, surprise includes the scarcity of materials and the unexpectedness of composition. The value of the clothing is enhanced by the use of scarce materials not typically used in clothing. In addition, Marine Serre is highly regarded for expanding clothing into life by incorporating material upcycling into the theme of the collection. Third, handcrafted features include exaggerated decorations, logo, retro designs, and natural properties, and intentional utilization is differentiated. Marine Serre's signature pattern suggests a suitable expression for the fabric to use the crescent moon for the season. Fourth, the collection expresses themes of inclusivity and cultural diversity. The results indicate that Marine Serre wants to contribute to a better future characterized by global coexistence.