• 한국정보디스플레이학회:학술대회논문집
• /
• 2007.08b
• /
• pp.1685-1687
• /
• 2007

Excellent moving picture performance of plasma TV has been confirmed through the study and measurement using the method proposed by the APDC (Advanced PDP Development Center Corporation). Full-HD Plasma TVs with pixels of $1920{\times}1080[1]-[2]$, showed more than 900 TV-lines of resolution out of maximum scale of 1080, while typical LCD of the same pixel count showed only 1/3 of the plasma's performance. Moreover, even the latest 120Hz models of $1920{\times}1080$ LCD do not much PDPs with pixels of $1024{\times}768$, or $1366{\times}786$ in moving picture resolution. The measurement system proposed by the APDC showed very good agreement with subjective tests.

• Journal of the Korean Institute of Rural Architecture
• /
• v.14 no.4
• /
• pp.97-105
• /
• 2012

Winsborough Hall built by Martin L. Winehart who was the missionary of the Presbyterian Church of America in 1927 was built by Mrs. Winsborough's birthday contribution. Winsborough Hall was clearly divided into the original form built in 1927 and remodelled form by extension. Most of walls were constructed with several kinds of bricks for both sides and opening in the original form and remodelled form. Each room divided by inner wall was kept with original form because it is difficult to remodel it on the characteristics of building. But, it was confirmed through the related literatures that security of opening at some rooms and annexation of rooms through removal of the wall on the 2nd floor which was relatively easy to transform wall compared to the first floor were made. Variability of the wall affected the truss structure of roof and it created rare double truss structure. Architectural value of Winsborough Hall was in its first architectural trial using red brick in Gwangju region since 1920s. It suggested that it was differential architectural trial from Korean-Western mixed building constructed by the missionaries from 1940 to 1910 and buildings made of gray bricks prevailed from 1911 to 1920 and it showed the advancement in the architectural structure and materials.

• Journal of architectural history
• /
• v.28 no.3
• /
• pp.55-66
• /
• 2019

Pinson Hall is a dormitory building of Chosen Christian College, built in 1922, and it still remains comparatively well preserved as original form. This building is worthy in that it shows the living space of western style college in Korea, as well as characteristics of collegiate gothic style and building technology, designed by western architect in 1920s. At first, based on literate review and field survey, this study aims to trace the construction background and process of Pinson Hall, and find out its architectural characteristics with the original form when it is used as dormitory. Additionally, it deals with historic meaning and value of Pinson Hall as a modern western style college dormitory, through comparison with other dormitories in the same era. In conclusion, Pinson Hall is a Western style dormitory which allows students to accustom themselves to Western life style, using bed and desk, as well as it shows the new building technology in the early 1920s which has mixture of masonry and reinforced concrete structure.

• Journal of architectural history
• /
• v.11 no.2 s.30
• /
• pp.7-22
• /
• 2002

Architectural style is said to be product reflecting political, social and cultural condition. Especially, in colony, architectural style is strongly related to political condition or policy. After colonization in 1910, public buildings with western historical architectural style in Japanese version were widely built by Japanese colonial government in Korea. And in the late 1920s, modernism style in architecture became dominant in Korea as like other countries. In this situation, curious buildings in strange architectural styles came out. One example is railroad station buildings with traditional Korean architectural style and timber house station having a steep roof which is widely used in North Europe such as Alps area with good sights and mountains. Generally, the colonizer says that colonization is the only way to save the colony at crisis defined by colonizer and they insist that they can help the colony modernize. To justify colonization, the colonizer attributes the colonization to the characteristics of the nation and stagnation of the traditional culture etc.. Accordingly, the colonizer tries to depreciate colony's traditional value and culture. In case of colony which has similar cultural background historically (in this case, economical exploitation is less important than other Asian colony by European power), this depreciation of traditional value and culture in Korea was done more strongly than others. At this time, we should understand special relation between Korea and Japan historically. Even though, colony's locality is adopted by the colonizer in public fields, which is based on political purpose or exotic taste etc.. In early days of Japanese ruling period, Japan never use the Korean traditional facts in public. Therefore there is no use of Korean traditional architectural style in public field. In late 1920s, some railroad station buildings were constructed in new styles without precedence in modern Korea. One is railroad station buildings in Korean traditional architectural style, the other is railroad station buildings in timber house stations having a steep roof which is different form western historical architectural style. It was mystery that Japan had constructed railroad stations in Korean traditional style which Japan had tried to destroy together with Western style railroad station buildings. This paper is made to solve the mystery why the colonizer(Japan) constructed entirely different types of railroad stations at the same time in the late 1920s and 1930s. The key point to solve this mystery is tourism. In this paper, to solve this mystery, I try to use terminology' 'Colonial Tourism' in architecture why colonial power had constructed railroad stations with colony's traditional architectural style and Western style having a steep roof which can be seen north European region.

• Cross-Cultural Studies
• /
• v.20
• /
• pp.241-274
• /
• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• Journal of the Korean housing association
• /
• v.18 no.1
• /
• pp.113-122
• /
• 2007

Houses in Jeju city are divided into separated types and combination types of household affairs space. Other special types are separated-kitchen type. Separated household affairs space type is mostly built. Separated household affairs space type were sitting room + Gopang separate type and separate sitting room type. Combination household affairs space type made from sitting room, kitchen, Gopang and Chabang(Dinning room) put together as space differentiation, also into classes sitting room + kitchen + Gopang + Chabang type, sitting room + kitchen + Chabang type, sitting room + kitchen + Gopang, sitting room + kitchen type by combination household cares space type. Separated-kitchen type was one of the special type from separated-kitchen type of traditional housing, and type with continuous. Houses in Jeju city were 3 kan type and 4 kan type. 4kan type was mostly built. ㅡ shape is kept as plan shaped of straight shape, and roof shape is showed as ㅡ shape gathering roof. ㅡ shape + part projection type talls part projecting type as happened in Gopang, and Chabang. Roof is gathering roof, and when it is showed ㄱ shape by Gopang, Chabang, and kitchen are projected. ㅡ shape + total projection shape is one of the room become totally projected by Gopang and Chabang, can be happen with small room or kitchen, and roof as gathering roof shaped with ㅡ shape, ㄱ shape, ㄷ shape, unsystematic ㄹ shape, and various shapes.

• The Journal of Art Theory & Practice
• /
• no.4
• /
• pp.105-121
• /
• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of Korean Society of Archives and Records Management
• /
• v.4 no.1
• /
• pp.23-42
• /
• 2004

Lenin's decree of 1 June 1918 'On the reorganization and centralization of archives in the RSFRS' is appreciated as an institutional and conceptional basis for Socialist archival theory and practice not only in USSR but also in most countries of the socialist community. In spite of its importance to the making role to build the 'landmark' in the history of russian archives. This paper focuses on the activities and achievements of archivists in 'RAD Union(Union of Russian archives activists)' in revolutionary situation of 1917-1920. To preserve documental heritage with historical values in difficult situation of 1917 historians and archivists in 'RAD Union' voluntarily cooperated with new governments. This special situation led them to make more efforts at reformulating national archival system, namely, the state Archival Fond (Gosudarstvennyi Arkhivnyi Fond) as a new base for the centralization and arrangement of all archival materials throughout the country. Their experience was reflected in every articles of the archival decree of June 1918.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.2
• /
• pp.318-335
• /
• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• Journal of architectural history
• /
• v.7 no.4 s.17
• /
• pp.113-130
• /
• 1998

This is a study on the ㄱ-shaped church in Korean Protestant churches. Since the Protestantism had been introduced into Korea, the style of ㄱ-shaped church was the popular style that have been fashioned in all the country of Korea. When the Protestantism was introduced into Korea, ideology which ruled over the Society of Chosun Dynasty was the Confucianism that emphasized the precepts, for example, the loyalty for the King, distinction between the sexes and so on. The Korean Protestants built the church which had ㄱ-shaped plan, so that they solved the second problem : 'distinction between the sexes'. The style of the ㄱ-shaped church is one of the characteristics which distinguish the Korean church from other nations'. Actually the ㄱ-shaped churches had been built by Korean Protestant denominations, from the early days of introducing the Protestantism till the end of 1920's. Even though most of the style of the ㄱ-shaped church is replaced with the modern style according to the extension of religious influence, luckily the ㄱ-shaped two churches : Kumsan Church(1908), Toodong Church(1929) are in existence in the Provice of ChonBuk. The purpose of this study is to make the architectural characteristics of the ㄱ-shaped church clear. This study is based on the actual survey of the ㄱ-shaped churches in existence: Kumsan Church, the Toodong Church and on the documents, photographs, interviews and so on for investigation not existing one now. The ㄱ-shaped church have the plan to separate men's side from women's with a right angle and have a pulpit which was placed at the meeting point of the front part of men's and women's sides. Generally, seen from the court, the churches have men's side in left and women's one in right. There was a screen blocking both sides in the church. But it disappeared in 1920's according to the change of the social conventionality. Most of its structural form is the Korean wooden style. The ㄱ-shaped church appeared in a transition period of the Korean church architecture.