• 패션비즈니스
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• 제16권5호
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• pp.57-73
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• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• 한국강구조학회 논문집
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• 제18권3호
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• pp.373-383
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• 2006

거푸집용 데크 플레이트를 사용하는 일방향 슬래브는 구조형식상 4변을 강성이 다른 철골보로 지지된 플레이트 요소이지만 일반실무에서는 철근콘크리트구조 설계기준을 적용하여 일정폭을 가진 연속보로 간주하여 근사적인 해석법을 사용하고 있다. 거푸집용 비합성데크 일방향 슬래브를 지지하고 있는 철골보는 지지형태 및 위치에 따라 서로 다른 처짐이 발생되는 탄성지점으로서 지점별로 발생되는 휨모멘트 값큰 차이가 난다. 따라서, 본 연구는 단부의 부동처짐 효과를 고려한 근사해석법상의 휨모멘트 계수를 합리적으로 산정하기 위하여 다양한 해 석모델을 가정하였으며, 해석상의 변수로는 고정하중에 대한 활하중의 비율, 스팬별 활하중의 배열(패턴재하) 및 스팬길이를 고려하였다. 또한 해석방법으로 3차원 플레이트 유한요소해석, 이차원 탄성지점해석, 이차원 무한강성지점해석, 설계기준상의 근사해석을 각각 적용하여 결과값을 비교 분석하였다.

• 패션비즈니스
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• 제9권1호
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• 한국의상디자인학회지
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• 제10권1호
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• pp.99-116
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• 2008

This study reviewed pertinent literature and examined relics of manggon(a headband worn to hold a man's topknot hair in place), donggot(a topknot pin), and chigwan(a topknot cover). Before the modernized short hair style, wearing a gat was an important custom. Therefore, manggon, which was used to hold a man's hair in place under the gat, was considered an essential part of the man's official dress code. Donggot is a pin that held the topknot hair in place. It was a must have for a married man, like the binyeo, a lod-like hairpin, for a married woman. Unlike gwanja, it had nothing to do with official rank, but materials were of a variety of materials, including jade and gold. The structure of the donggot was studied in three parts-head, neck and body. Major forms for the head include the mushroom, bean and ball. Bullet and half-cut bullet forms were also found. Forms for the neck include straight-neck and curved-neck. A neck with a belt around a double chin was also found. Forms for the body include the tetrahedron, octahedron and cylinder. The most popular form for silver and white bronze donggot heads was the mushroom, followed by bean and pile forms. Chigwan is also called chipogwan, chichoal, choalgyesogwan, noingwan and sangtugwan. In poetry it was called chichoal, and it used to be called taegogwan in the past as well. Chigwan was so small that it managed to hold a topknot. According to confucian custom in the Joseon period, by wearing chigwan, men didn't display their bare topknot even when they didn't dress up. When they went out, they wore another official hat over the chigwan.

• 한국조경학회지
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• 제29권3호
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• pp.81-89
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• 2001

The purpose of this research is to provide for some useful data for computer-related courses of the landscape science, assuming that computers are being and should be used more and more in landscape architecture and therefore, that landscape science students need to respond positively to such a trend. For this purpose, landscape architecture studios and their landscape architects were surveyed for their computer and its program uses as well as their satisfaction with the utility of computer for their landscape works. The results of this research are as follows; 1) 10.7% of the landscape architects surveyed answered that they had learned about their necessary softwares at school, while 61.6% of the studios surveyed were less satisfied with their employees' poor computing ability. Such findings suggest a lack of computer-related courses in landscape science and therefore, that more computer-related courses should be introduced for landscape science students together with the necessary software education. 2) Too few landscape softwares are being used by the landscape architecture studios; such softwares as AutoCAD, Photoshop, 3D Max, Excel, PowerPoint and 한글 account for more than 90% of the landscape architecture softwares being used currently. Quite naturally, landscape students need to be trained on these softwares above all. 3) It was found hat he area of work using the computer most was ˝design works˝(84.5%), followed by ˝documentation˝(83.8%), ˝image editing˝(75.1%), ˝cost calculation˝(68.2%), ˝presentation˝(68.1%), ˝analysis˝(37.8%) and ˝rendering˝(35%). It was regretable to discover that such areas requiring more computing work as ˝analysis˝ and ˝rendering˝ were still worked manually. So it sis deemed necessary for landscape science courses to enhance their computer education of such areas first of all.

• Steel and Composite Structures
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• 제1권1호
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• pp.17-32
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• 2001

The Rosette-joining system is a completely new press-joining method for cold-formed steel structures. One Rosette-joint has a shear capacity equal to that of approximately four screws or rivets. The Rosette thin-walled steel truss system presents a new fully integrated prefabricated alternative to light-weight roof truss structures. The trusses are built up on special industrial production lines from modified top hat sections used as top and bottom chords and channel sections used as webs which are joined together with the Rosette press-joining technique to form a completed structure easy to transport and install. A single web section is used when sufficient but can be strengthened by double-nesting two separate sections or by using two lateral profiles where greater compressive axial forces are met. An individual joint in the truss can be strengthened by introducing a hollow bolt into the joint hole. The bolt gives the connection capacity a boost of approximately 20%. A series of laboratory tests have been carried out in order to verify the Rosette truss system in practice. In addition to compression tests on individual sections of different lengths, tests have also been done on small structural assemblies and on actual full-scale trusses of a span of 10 metres. Design calculations have been performed on selected roof truss geometries based on the test results, FE-analysis and on the Eurocode 3 and U.S.(AISI) design codes.

• 한국소음진동공학회:학술대회논문집
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• 한국소음진동공학회 2003년도 춘계학술대회논문집
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• pp.802-807
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• 2003

International Convention Center Jeju(ICCJ) was planed and built for accommodating a variety of conventional and exhibitional activities. For a better flexibility of operation, almost all rooms in ICCJ are designed to be subdivided Into a couple of small rooms with installation of movable partition walls. Architectural and acoustical design should be deliberatively and cooperatively undertaken to cope with such a complex condition. Conference hall, the largest room in ICCJ, has a capacity of 5000 seats who:1 used as a whole. It could be divided into 3 halls, one with 2000 pre-installed seats on slanted floor, up/down removable stage and its settings above, and the other 2 flat rooms with no seats installed. A devided hall with pre-installed seats and stage is designed for a multi-use auditorium. Almost all surfaces except ceilings adjacent to the stage are sound absorptively treated, in regard to extensive use of sound reinforcement systems. Its reverberation time 1.65 sec without audience, which is roughly correspond to 1.50 sec with fully occupied audience. When there is a need for a larger room, all the partition wail Is removed and the hall could be used as a whole. Exhibition hall is located in the first floor of ICCJ. Absorption and softness are needed for the hat 1 because exhibition behavior has something noisy features. Perforated MDF panels with porous materials and air space in the back groundare adopted for the walls. There are one large, two medium, and several small convention rooms in ICJJ. The room are also acoustically designed for maximum flexibility with no defects soundwisely.

• 한국의류산업학회지
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• 제9권3호
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• pp.286-294
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• 2007

Dolbok, the first birthday suit, is a formal suit a person puts on for the first time after birth. It not only a symbolizes of Korean customs or traditions, but also represents transmitted ideas, values and lifestyles of Koreans. In this nation where strong preferences for son prevailed, dolbok for boy was specially important. 1.Styles of weaing Dolbok are classfied into trousers and jeogori, baeja, magoja, durumagi, jeonbok, sagyusam and yongpo styles in accordance with what kind of clothes was finally worn. 2. Accessories of dolbok for boys included dolddi, dol jumeoni, gulre, bokgeon, hogeon and tarae baeseon. 3. Dolbok of trousers and jeogori, baeja or magoja style simply consisted of 2 to 4 units of clothes. It was usually worn by ordinary people, and strongly imaged as common. Dolbok of durumagi or jeonbok style was a combination of 5 to 6 units of clothes and mainly worn by noble and royal families. It was remarkably formal, but quite brilliant. The suit for first birth anniversary which was sagyusam or yongpo was made in accordance with court rules and used by the royal family, It consisted of 7 to 8 units of clothes. Dolbok of sagyusam or yongpo style used invariable, simple patterns and colors, but had strong images of courtesy and dignity. 4. Regarding accessories of dolbok, the long-hanged goreum was a symbol of parental wishes for the $baby^{\circ}{\emptyset}s$ health and longevity and dolddi was joined by dol jumeonisymbolizing the wealth and prosperity of the baby. In addition, hogeon was a hat whose shape was the head of tiger symbolizing wishes for bravery and health and tarae beoseon was childlen's socks that had seams, symbolizing prosperity, on the fore edge. Seon for sagyusam was used as a symbol of preventing diseases or evil spirits to protect the health of the baby.

• 정보처리학회논문지A
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• 제9A권4호
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• pp.485-490
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• 2002

디지털 TV, 인터넷 셋탑박스, 인터넷 전화기 등과 같은 정보가전 제품이 속속 등장하면서 이들 제품의 기능을 제어하는데 필수적인 실시간 운영체제 시장이 크게 성장하고 있다. 한국전자통신연구원에서는 소형의 휴대 정보 단말에서부터 디지털 셋탑박스 및 홈 서버까지 다양한 종류의 정보가전 기기에 공통으로 사용될 수 있는 확장 가능한 표준 실시간 운영체제 Qplus-P를 개발하였다. 본 논문에서는 정보가전용 실시간 운영체제 Qplus-P에 탑재되는 C표준 라이브러리의 설계 및 구현에 대해 기술한다. Qplus-PC표준 라이브러리는 레드햇에서 실시간 운영체제 국제 표준으로 제안된 EL/LX 응용 프로그램 인터페이스 단계에 따라 설계되었다. 그리고 Qplus-P 응용 프로그램 수행에 필요한 Tiny-X, 카페 등을 지원하기 위해 추가적으로 필요한 함수들도 구현되었다. 구현된 C표준 라이브러리는 EL/IX 응용프로그램 인터페이스 단계를 적용하지 않은 C표준 라이브러리보다 라이브러리 크기를 30% 정도 줄일 수 있었다.

• 패션비즈니스
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• 제6권3호
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• pp.41-51
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• 2002

The author of the paper investigated the changes of hairstyle along the developments in hairdressing industry in the 20th century. The development process of hairdressing industry was divided into four periods of introduction, origination, growth, and establishment. The corresponding changes of hairstyle were analyzed and the findings are as follows. 1. Hairstyle could be classified into such typical ones as traditional style, cut, bob, wave, permanent wave, up style, and hair coloring. 2. Fashion leaders affected the changes of hairstyle. 3. Whenever hairdressing appliances were introduced, new hairstyle was practiced as follows with the use of the appliances. (1) Introduction Period - Traditional Style : Chignon, pigtail ribbon $\rightarrow$ Variations were designed in hair length or split due to the limited availability of appliances. - Up Style : Pompadour, thick and up hair, encircling hair $\rightarrow$ Padding was used for sweep-up. (2) Origination Period - Bob Style : Women's first bob style. - Wave style : Wave with bob, close-cropped hair, up style $\rightarrow$ Iron, set, permanent devices were used. (3) Development Period - Wave Style : Wind wave, easily manageable wave $\rightarrow$ Blow dry, body permanent were used. (4) Establishment Period - Straight Style : Use of straight permanent. - Thick Wave Style : Development of various kinds of rod. - Hair Coloring : Advent of diverse fashion hair coloring, apart from the coloring of white hair, with the introduction of color TV. - Bob Style : Romantic bob style $^{\circ}\hat{E}$ Use of clippers and thinning scissors. Thus, the changes of hairstyle according to the development in hairdressing industry had close relationship with the improvement in hairdressing appliances.