• Structural Engineering and Mechanics
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• 제38권1호
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• pp.39-63
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• 2011

Referring to the formulation of physical stochastic optimal control of structures and the scheme of optimal polynomial control, a nonlinear stochastic optimal control strategy is developed for a class of structural systems with hysteretic behaviors in the present paper. This control strategy provides an amenable approach to the classical stochastic optimal control strategies, bypasses the dilemma involved in It$\hat{o}$-type stochastic differential equations and is applicable to the dynamical systems driven by practical non-stationary and non-white random excitations, such as earthquake ground motions, strong winds and sea waves. The newly developed generalized optimal control policy is integrated in the nonlinear stochastic optimal control scheme so as to logically distribute the controllers and design their parameters associated with control gains. For illustrative purposes, the stochastic optimal controls of two base-excited multi-degree-of-freedom structural systems with hysteretic behavior in Clough bilinear model and Bouc-Wen differential model, respectively, are investigated. Numerical results reveal that a linear control with the 1st-order controller suffices even for the hysteretic structural systems when a control criterion in exceedance probability performance function for designing the weighting matrices is employed. This is practically meaningful due to the nonlinear controllers which may be associated with dynamical instabilities being saved. It is also noted that using the generalized optimal control policy, the maximum control effectiveness with the few number of control devices can be achieved, allowing for a desirable structural performance. It is remarked, meanwhile, that the response process and energy-dissipation behavior of the hysteretic structures are controlled to a certain extent.

• Journal of the Korean Society of Costume
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• 제38권
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• pp.261-277
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• 1998

This study is focused on two things, on the matter of judge's robe(JR) which is worn in the court. First, Korean JR were examined from late 19th century through today(1997)to reveal the entity of the JR : characteristics of each JR has been changed according to the political or international influences. Second, JR from 92 countries were collected and analyzed to figure out the plastic characteristics of the JR among international society. The results are as follows : First, Korean JR were have changed many times according to the social, political influences. The Korean modern judicial system were proclaim in 1895 and JR were adapted in 1906. In 1920, Japanese style JR were worn until 1945 when Korean government have had her Independence. Korean Government have changed JR through which Korean identities were expressed through patterns such as national flower Mukungwha(Hibiscus) and Yang & Yin. In 1966 Korean JR were changed again and adopted western style JR until today (1997) which have many things in common with academic robe of university or clerical robe. Second, the analysis of the 92 international JR were summarized as follows : (1) The JR were consisted of three styles such as Gown style, Cape style and Jacket style. And Gown style has been found as the most popular style(86%) for JR among them. (2) As the main color of JR, black is used among 60% of countries and red is used in 33% of countries. Gold were matched for black JR and gray for red JR as their sub-color. (3) The most popular material were wool and satin were favored as its sub-materials. (4) Natural and Geometric Patterns were used to express the symbol of the country and the court. (5) Decorative items and details such as hat, gloves, shoes, wig, necklace, neck-tie, stole, tassels, rope, ruffles were used to express wearers dignity and symbolism. These results are expected to be adapted for the future design for new JR which has its identity and characteristics.

• Journal of the Korean Society of Clothing and Textiles
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• 제30권2호
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• pp.316-325
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• 2006

The colors of apparel are getting more important to give the differentiated character on fiber and fabrics. This study was to extract the favorable colors that become to facial color types. Research was carried out to classify the facial colors into several similar facial color groups. With JX-777, 2 points of face: forehead and cheek, were measured and classified into 3 facial color types. Sample size was 418 Korean adult males and other 15 of new males subjects. New chosen 3 subjects who had the classified facial color types, wore silver gown and black hat on his head to minimize the interaction of the clothe color an hair. The 40 standardized color samples were used to extract the favorable colors. 187 respondents answered the degree of becomingness of color samples on 3 facial color types. Data were analyzed by K-means cluster analysis, ANOVA and Duncan multiple range test using SPSS Win. 12. Findings were as follows: 1. 418 subjects who had YR colors were classified into 3 kinds of facial color groups. Type 1 was 4.59YR 5.89/5.12, Type 2 was 5.61 YR 5.41/4.79 and Type 3 was 4.38YR 6.49/4.89 respectively. 2. Favorable colors for Type 1 were 2 colors that belonged to ' a ' group from among colors that were divided into a, b, c group and 18 colors that belonged to ' a ' group from among colors that were divided into a, b group by Duncan post hoc test. 3. Type 2 showed that this type had many unfavorable colors. Unfavorable colors were 16 colors that belonged to ' c ' by Duncan test. 5. Favorable colors for Type 3 were 14 colors that belonged to ' a ' from among colors that were divided into a, b, c and 16 colors that belonged to ' a ' from among colors that were divided into a, b by Duncan test.

• Journal of the Korean Society of Clothing and Textiles
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• 제27권7호
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• pp.735-745
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• 2003

This paper looks at perceived images of female university students concerned with various wedding hair coordination including wedding hair styles, veil details and fitting positions and head dresses. Ta design an experimental test of a wedding dress and hair coordination variables, the content analysis of magazines was performed and hair experts were interviewed. 17 stimuli representing the variables of wedding hair coordination were manipulated and included with hair styles(2), veil details(2), veil fitting Positions(2), head dresses(2) and a wedding hat(1). The questionnaire of 445 was carried out and data were statistically processed. As a result, five images of wedding hair coordination were factors loaded, that is, favorable, decorative, smooth, personal and pretty one. Various main and interaction effects were found in images of it regarding to changing hair styles, different veil details and fitting positions and head dresses. favorable images, they affected by interactions between hair styles and veil details, hair styles and veil fitting positions, hair styles and head dresses and between veil details and the fitting positions. For personal images, interactions between veil details and the positions of veil fitting had effects on female students; for smooth images, That is, for hair style, female university students were influenced by favorable and smooth images; for veil details, by decorative and smooth images; for the positions of fitting veil, by decorative and favorable ones Then the researcher examined effects by dual interactions between factors of wedding hair coordination. For decorative images, they were found influenced by interactions between hair styles and veil details and between hair styles and head dresses. For personal ones, interactions between veil details and the fitting positions; for pretty images, interactions between the fitting positions and head dresses. These findings will provide sellers of the wedding dress with the idea of how females to perceive wedding hair coordination according to the variation of it.

• Journal of the Korean Society of Costume
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• 제62권4호
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• pp.32-45
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• 2012

The purpose of this research is to better understand the Dongmyo, the Eastern Shrine of GuanYu and the military costumes of the Joseon period andto develop different cultural contents. By studying relevant literature, confirmations were made about the various types of costumes and their historical changes. During the reign of King Yeongjo, the ceremonial conductors often wore armors, and the king wore a different military costume. During the reign of King Jeongjo thereafter, the ceremonial costumes were codified in the book, the Chun-gwan tonggo(General Outline for the Ministry of Rites), along with the costumes for the musicians and lower officials. However, the military features were weakened in the late Imperial Joseon years. In terms of costumes, it would be best today to restore the ceremonies of the Shrine of Guan Yu during the period of King Jeongjo. All the costumes for different figures of the Shrine are clearly confirmed, and by emphasizing the main features of the ceremonials of the Shrine, it is possible to differentiate the ceremony from other restoration activities in Korea. For the Guan Yu statue, the hat is square shaped and decorated with nine bead strings, it is dressed with a red dragon coat and a violet inner coat. This study presents methods for the restorations of the original costumes for the individual figures of the ceremonials, with necessary theoretical explanations. The king wears the lamella gold armor, while different ceremonial officials wear differentiated armors according to their different ranks. All the civil and military officials who attend the ceremony wear military clothes with horse's mane hats and swords. The musical conductor and directors are expected in armors and participating musicians also have to wear armors according to the Akhak Gwebeom (Basics of Music).

• Journal of the Korean Society of Costume
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• 제57권6호
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• pp.172-183
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• 2007

The purpose of this study is to examine the dress and its ornaments of low-level officials shown in Tamna-Sullyeokdo, the paintings of the inspection tour of Jeju Island. The low-level officials Include low-level soldiers-sungjungun, gichigun, foot soldiers, cavalries, gunroe, ilsu, artillerymen, najang, and sawon-, musicians, servants, and kisaengs in government employ. 1. Different types of low-level soldiers tended to wear different kinds of clothes that is worn under an outer garment and to wear different coats and trousers depending on an outer garment. That is, sungjunggun, gichigun, foot soldiers, and cavalries were jeonbok over a jeogori and baji. On the other hand, gunroe, ilsu, artillerymen, and najang were houi or jakui over a jeogori and baji. However, Sawon simply were Jeonbok or armer or they wore Cheolik in formal occasions. 2. Musicians wore a jeonlib, a type of hat, decorated with an ear of barley and a red houi over a Jungchimak, a man's outer coat with large sleeves. Musicians wore colorful red clothes in order to add to the amusement during military trainings or banquets. 3. Servants in government employ had their hair in plaits and wore a jeonbok over a Jungchimak or baji and jeogori. However, when they dance during banquets, they were cheolik and jeonlib decored with/without an ear of barley or red flowers. 4. Gisaengs in government employ wore a gache on their head and wonsam, a woman's full dress during big occasions. They, on the other hand, wore a jeogoli and chima for regular occasions.

• The Research Journal of the Costume Culture
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• 제14권1호
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• pp.16-26
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• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.

• Journal of architectural history
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• 제3권1호
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• The Research Journal of the Costume Culture
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• 제16권2호
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• pp.263-277
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• 2008

In picture bible, the picture is helpful for showing story more vividly and specifically and it is helpful for finding the meaning of bible hidden behind familiarity. It plays the role of the most powerful testimony and expression, with which human provides himself. The purpose of study was to grasp the relation among historical background of the middle age, human's characteristic and symbolic color by considering the fact that the costume expressed in Maciejowski Bible, which is a picture bible of the middle age and observing type, color and decoration of costume. Among 46 folios organizing Maciejowski Bible, 129 pictures explaining the Book of Genesis, the Book of Exodus, the Book of Leviticus, the Book of Numbers, the Book of Deuteronomy, the Book of Joshua and the Book of Judges, which belong to the former 400 years of the old Testament, were analyzed for people's costumes. The pictures shown in Maciejowski Bible portrays object, costume and behavior on the background of France of the 13th century so we can find out the precious natures of middle age's costume, weapon and armor. Especially, the portrait about finger armor of chain mail attached in hauberk becomes the outstanding evidence that can encroach the discussion over whether it was used in the end of 1300s. Regarding costumes of main characters, they wore chemise and braies as underwear, wore tunic or cotte having various lengths from the length reaching knee to the length reaching 8round as basic costume and wore mantle with different-colored lining and hose with various colors. In the war picture, we can see hauberk made with chain mail and cyclas with long slit, which was worn over hauberk, barrel helmet, norman helmet and steel school cap. Regarding cap. man usually wore coif, beret, shade-shaped cap, straw hat and woman wore the decoration using veil and hairlace and used the method to wrap whole hair with net. As the colors used in the costume of the picture bible, scarlet, blue, green and brown were usually used in order. They usually wore costumes decorated splendidly with the colors haying hish brightness and chroma.

• Journal of Fashion Business
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• 제18권3호
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• pp.73-90
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• 2014

Paper, once known and used only as a medium for printing or handicrafts, is now being used in new fields including artistic clothing, and an environment-friendly material for fashion, while the functionality of its formative characteristics and esthetics have been newly highlighted. On this basis, this study performed a content analysis of paper couture and categorization of types of paper modeling techniques based on 904 paper couture submitted to paper fashion shows, exhibitions and contest exhibits from 2001 to 2013. Analysis results showed that paper textile types were most common at 86.64%, while techniques using laminating, bonding, overlapping or paper as-is represented 62.17%. Expressive techniques in which paper was cut or torn and attached to paper clothing was 11.62%, paper folding was 5.75%, drawing and coloring 4.65%, and finally, paper cutting was 2.65%. Meanwhile, among paper modeling techniques using paper yarn textiles, a paper weaving technique was 6.75%. Moreover, other techniques in which paper modeling techniques or subsidiary clothing was blended were 3.65%, and Dak peeling textiles were 1.33%. Paper paste moulding textiles types represented 1.44%, above all papier $m{\hat{a}}ch{\acute{e}}$ techniques of 0.55% and creasing and holding techniques were 0.88%. Paper is sufficient to express the artists' creativity as well as having qualities as an artistic medium, such as variability through combined use with other materials, variation in form, suitability for reuse of waste paper, and environmental friendliness. Also, various paper modeling techniques can be blended with textiles for a generalized technology that overcomes the limits of paper and textiles.