• 한국농촌건축학회논문집
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• 제11권4호
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• pp.25-34
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• 2009

The modern philosophy of historic conservation focuses on the permanence of the material aspects of monuments as historic evidence of the artistic achievement of the past. However, so strongly are European attitudes to architecture and its conservation embedded in modern conservation, that it has skewed all conservation thinking towards the concept of the European-type monument which emphasizes visual beauty through its material substance. Thus, some basic ideas of modern conservation seem ill-suited to East Asian architecture which is conceived in a different spirit from its European counterpart. The purposes of the paper are to discuss the need for approaches which are different from the modern Western view of conservation for East Asian architectural heritage, and to make suggestions for developing conservation principles more suited to the unique values and aesthetic sense of East Asian culture and architecture. Conservation principles in the East Asian societies are determined in relation to the spiritual and naturalistic sensibilities of East Asian culture and architecture.

• Architectural research
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• 제18권1호
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• pp.1-12
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• 2016

This thesis explores Vitruvius and his impact upon other Renaissance architects who compare a city to a building or a building to a city, who match the city and the building into a human body, and who develop their own works. The objective of this study is to furnish an interpretation of their theory and practice through their literature and designs. In this point of view, this article takes notice of Vitruvius's six concepts coined from venustas and divides them into two parts: i.e. aesthetic quality (ordinatio, dispositio, and distributio) and technical activity (eurythmia, symmetria, and $d{\acute{e}}cor$) each. This thesis indicates that Vitruvius's successive impacts from the concepts bring about concrete design principles through proportional measurements, placing together, and hierarchic values for the former, as well as appropriate use through beautiful look, symmetrical harmony, and appropriate uses for the latter, tracking notions between a city as a house and vice versa, and either the ideas of the house or the city in the synthesis of the human body, which follows the perfect number and module based on the human body. The thesis shows that the representations of architecture and the city take place with the form of a circle and a square that express the religious belief and the cosmos, substantiating the connection between the proportions of the human body and numbers, and ultimately satisfying a concept of centrality, which is slowly extended to the enclosed plaza at the urban level from chambers, atrium, and corridors at the residence level.

• 한국주거학회논문집
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• 제25권1호
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• pp.41-50
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• 2014

Architectural & Interior design communication is a process of exchanging information between architects and other professionals, clients, and prospectus users, and a design medium is a means of communication. Using non-immersive, conventional media, it is challenging for architects communicate physical details and users' activities in not yet built three-dimensional buildings to others. Recent advances online, Multi-User Virtual Environments (MUVEs) allow architects and other professionals to experience a virtually constructed building together using anthropomorphic avatars. In addition, MUVEs also enable them to be aware of the presence and activity of each other. Previous studies suggest that the aforementioned characteristics of MUVEs may facilitate communication between architects and others. But these are focused on communication in controlled experimental conditions. This paper discusses the ways in which MUVEs are applied for authentic and long-term collaboration, design studio, and cultural heritage reconstruction projects, produced by digital design group at the UC Berkeley and the Technion-Israel Institute of Technology, and analyzes the influences of MUVEs on those projects. MUVEs helped more precise communication between architects, electronic engineers, and medical staffs, who are collaborating for developing pioneering technology for hospitals. In design studios, MUVEs allowed students to experience other students' design outputs, and thus helped them share ideas mutually. In addition, in cultural heritage reconstruction projects, MUVEs were used for communicating with historians and residents in order to collect evidence. Based on this study, we propose that MUVEs have strong potential for enhancing the communication between architects and other professionals.

• 대한건축학회논문집:계획계
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• 제34권12호
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• pp.135-144
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• 2018

This paper deals with preservation and restoration as a universal approach to conserve architectural heritage. The questions on how to preserve or restore them have been always major issues for many old buildings. Reading changes in ways of the thinking to solve such matters in the past helps to grasp the fundamental concepts to conserve cultural heritage at this point in time. The method is an important stage that leads to change our current attitude. Both the ways of the thinking for preservation and restoration should be re-interpreted to preserve memory or to restore identity depending on the current situation, and even should no longer be understood as two opposite options. Therefore, this paper focuses on the epistemological notion and reveals the origin and premise of modern historical perception that has become disconnected from the past works. By taking the writings of $Eug{\grave{e}}ne$-Emmanuel Viollet le Duc, John Ruskin, and Camillo Boito into consideration, the thesis shows that their thought, in the common denominator of the time, is a kind of reflection of consciousness according to particular historical contexts and that their ideas echo three dialectical paradigms derived from past and present, memory and forgetfulness, and history and truth.

• 헤리티지:역사와 과학
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• 제53권3호
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• pp.184-201
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• 2020

해방 이후 북한과 남한의 고고학은 전혀 다른 길을 걸어오게 된다. 특히 1970년대 이후 급격히 정치성을 띠기 시작한 북한 고고학과 대규모 유적 발굴로 학문적 성장이 가속화된 남한 고고학은 큰 차이를 보이기 시작하며, 이러한 양상은 1990년대 대동강문화의 천명 이후 더 이상 공유되는 부분이 없을 정도의 괴리가 생겨나게 된다. 그리고 이러한 괴리는 '고조선'을 전후한 청동기시대와 철기시대에 더욱 두드러진다. 그럼에도 불구하고 남한의 선사 고고학은 지속적으로 북한 고고학에 시선을 둘 수밖에 없다. 아직도 중요한 연구 주제 중인 '문화의 기원과 계통'을 찾는데 있어 북한의 자료가 주된 연구 대상이지만 그 신뢰성에 의문을 표하는 '이중적인 시선'이 남한의 고고학이 북한 고고학을 바라보는 시선인 것이다. 북한 청동기시대 고고학과 남한 청동기시대 고고학에서 보이는 '괴리'의 많은 부분은 조사 사례의 증가, 학술적인 토론 등으로는 해결되지 않는 '정치적 차이'에 의한 것이다. 그럼에도 북한 선사 고고학의 흐름을 살펴보는 것은 북한 고고학의 정치성을 비판하기 위한 것은 아니다. 북한에서 현재 청동기시대를 바라보는 인식과 남한의 인식에 어떠한 차이가 있으며, 이후 북한의 자료를 포함하여 '한반도의 선사문화', 더 나아가 동북아시아의 선사문화를 설명하는데 어떠한 문제점이 있는지를 미리 확인해 두고자 하는 것이다. 본고에서는 지금까지 북한 청동기시대 고고학의 연구 흐름을 살펴보고 동시기 남한 청동기시대 고고학과 비교하여 어떠한 쟁점들이 있는지를 검토하였다.

• 패션비즈니스
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• 제6권2호
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• 기록학연구
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• 제45호
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• pp.121-153
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• 2015

정체성을 인정받기 위한 투쟁은 인간의 존엄성을 되찾으려는 운동의 성격을 갖고 있다. 이러한 운동의 참여자는 자신을 권리의 주체로 확인하고 다른 구성원과 함께 억압으로부터 자유로운 의사소통을 공유하게 된다. 공공의 의사형성과정에 참여할 수 있는 기회를 보장받는 것은 인권의 불가결한 요소이다. 1980년 광주는 짧은 기간에 불완전하기는 했지만 국가권력이 일시적으로 정지된 상태에서 공동체적 자치를 경험하였다. 국가권력의 침탈에 대항하여 시민사회의 자율성을 지키려 했던 광주민주화운동의 내용과 기억은 5.18민주화운동기록물에 고스란히 남아있다. 5.18민주화운동기록물은 인권과 민주주의 수호의 가치를 인정받아 2011년 유네스코 세계기록유산으로 등재되었다. 5.18민주화운동기록물은 1980년 광주에서 억압적 정치권력 하에 정의를 향한 저항과 투쟁 그리고 시민의 희생과 고통의 기억을 갖고 있다. 따라서 이 기록물은 민주주의를 향한 역사적 투쟁과 관련되어 있으며 민주주의로의 이행과정에 관한 교훈을 우리에게 제시한다. 기록유산의 보존과 활용은 역사적 사건의 기억을 지속적으로 현재화시키고 현재와 미래에 경험과 사상의 교류를 가능하게 한다. 본고는 5.18민주화운동기록물의 세계기록유산 등재 사례를 통해 '인권과 민주주의수호'라는 기록물의 가치를 넘어서 역사적 사건에 대한 기억이 기록물을 통해 어떻게 현재화되는지 살펴보고, 인권기록의 또 다른 가치에 대해 논의한다.

• 복식
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• 제60권3호
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• pp.56-65
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• 2010

It is time to create an image of Korea that uniquely defines and represents the nation to the world, by incorporating Korean traditions with the cultural industry. To this end, it is important to see the beauty of Korean tradition from an academic perspective and further explore its utility from an industrial viewpoint. This study is intended to design uniforms for employees in Korean restaurants at hotels or docents in Korean-styled museums. In doing so, we eyed on Baeja, a Korean traditional vest as the cultural archetype, and created cultural products. As our archetype, we chose two pieces of Baeja : one excavated from the tomb of Suryun Sim (1534-1589) which is displayed in the Gyeonggi Provincial Museum, and the other from Byeon of the Jeonju Lee family (1636-1731) in Suk Joo-Sun Memorial Museum at Dankook University. We also adopted Dapho with a Korean traditional vest with long length. Based on these cultural archetypes, seven products were developed. With the traditional food and way of living in Korea being more and more recognized in the global stage, it would be continuous creation and development of cultural contents with history and story rooted in the cultural heritage of the nation that could enrich our culture by bringing traditions back to the modern days to incorporate the past into the present. It is important to restore traditions when developing cultural products. However, it is also critical to commercialize ideas with stoη and creativity in the market for cultural products.

• 복식
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• 제23권
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• pp.79-97
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• 1994

The purpose of this study is to survey of Korean costume cultural assets in overseas museum collections. Cultural Assets represent the cultural heritage. Also costume is one of cultural assets. In 1980's the Korean government and scholars surveyed Korean cultural assets. One of their finding was that Korean objects exists some countries. Unesco delared that cultural assets illegally taken a way to foreign countries should be returned to their nations. However, few objects had been returned to korea. Today museum professional designing their exhibited and collections try to both enlighten experts and instruct and please amateur enthusiasts. Exhibitions are one of the most effective means of stimulating interest in cultural objects and ideas : they reflect prevailing cultural , intellectural and political trends. The 1893 Chicageo Exposition was the first international exhibition in which Korea has ever taken part. Overseas museum held many Asian exhibitions however Korean exhibitions have been held much less frequently than those of most other Asian countries. (China, and Japan). Some of Korean art Collection have historical and artistic valuable , most overseas museum' collection are of low value and non-informative . Several museums in United States that have Korean costume : some of these museums have highly valuable historical and contextural objects. It is my hope that the information in this paper will be of use for those interested in learning more about Korean culture.

• 복식
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• 제61권4호
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• pp.76-91
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• 2011

During the era of Joseon Dynasty when the Confucian ideas were prevailing all over the manners of living, most women were usually living separated in the boudoirs, the isolated living quarters exclusively for women, where they used to do much troublesome needleworks for the traditional kerchiefs and embroideries for which they poured out their souls and hand skills. And therefore, nowadays, such works are deemed much valuable for either formative or artistic point of view, and their legitimate cultural designs are receiving much publicity from a number of mass communications as one of the national competitive powers. Thus, I, the researcher for the subject study, have completed 1-year researching lessons on the traditional kerchief and embroidery of Ms. Hyeon-Hee Kim, the Mater-hand, at Korea Traditional Handicrafts Institute of Korea Cultural Heritage Foundation, and then engaged myself in the creative works relevant to the subject by cultivating the power of understanding to such field, restoring the techniques of the traditional handicrafts, reconstructing them into the modern sensual descriptions, and also trying to apply various transformations and modifications to them.