• 대한예방의학회:학술대회논문집
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• 1993.10a
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• pp.81-82
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• 1993

• Proceedings of the Korea Air Pollution Research Association Conference
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• 2009.10a
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• pp.531-533
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• 2009

• Proceedings of the Korean Nuclear Society Conference
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• 2001.05a
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• pp.327-327
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• 2001

• Proceedings of the Korean Environmental Sciences Society Conference
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• 1996.10a
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• pp.39-39
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• 1996

• 한국생물공학회:학술대회논문집
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• 2005.10a
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• pp.277-278
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• 2005

• Proceedings of the Korean Society of Crop Science Conference
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• 1994.06a
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• pp.42-43
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• 1994

• Proceedings of the PSK Conference
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• 2001.10a
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• pp.262.3-263
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• 2001

• Journal of architectural history
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• v.13 no.3
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• pp.37-50
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• 2004

Presentation is the way of revealing regionality that is hidden into the inner world. The expression of regionality has to be based on the origin and at the same time created newness as always suitable for the present through combination of 'familiarity' and 'unfamiliarity'. Regionality that has been maintained even under the application modern trends, spirits, technologies and materials should be now disclosed. Creating new forms that reflect regionality is possible only when a keen sense(emotion) always focusing on the essence of the earth works together with foresight(imaginative power) clarifying global pattern changes, under high tensions between both of them. Kim Su-Keun succeeded in reinterpreting traditional spaces, but failed in communicating patterns of life, ultimately revealing stiffness with no tension and no creativity. Kim Jung-Up could not draw out a whole meaning of relations among traditional fragments or relations between them and the present. He only borrowed such fragments from the view of formative art. For 'disclosed abstract', 'familiarity' and 'unfamiliarity' are repeated circularly and cope with pattern changes, continuously creating new forms and showing unity as a complete calmness(rest). In "YangDuk Catholic Church" by Kim Su-Keun provides a simultaneous reactivation of various images through continuous cross-weaving rather than being inclined to either the earth or the world. Based on the technique of 'disclosed abstract', "YangDuk Catholic Church" created a new form and space never seen before.

• The Research Journal of the Costume Culture
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• v.13 no.2 s.55
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• pp.269-279
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• 2005

Okso, Keun Seob($1671\sim1759$) was descended from a noble family of Noreun(노론) and learned from his uncle, Keun Sang-ha who is a disciple of Song Si-Yeol, Kim Chang-hyeub and Kim Chang-heub. His $\lceil$Oksoko$\rfloor$ remains in the form of a transcription or a lithographic printing, and documents on 'Hakchangeui' are recorded in jabeui(잡의), Euijedogi(의제도기), which is a part of it. He left Seoul in 1714, settled in Chungpung, journeyed to many places, including the Hwang river area and Jecheon and led a literary and artistic life as Sadaebu(사대부), which was written in a collection of his works where the record about 'Hakchangeui', the most suitable clothes for the life of a retired scholar remains today to express one part of his life. This study introduces data about Hakchangeui written in $\lceil$Oksoko$\rfloor$, pursues the reason why Okso, Keun Seob told about it and intends to embody the figure of Hakchangeui based on the system, measure, material, and sewing method according to the records in a collection. Hakchaneui described in $\lceil$Oksoko$\rfloor$ reveals a structure that is different from old Hakchaneui, showing characteristics like the following. It is a Sadaebu's costume for field amusement in which the length of a former part is longer than that of a later part and the side seam of a garment rips. Black Yeon is attached to the white texture. Yeon widths of Git(collar), Sugu and Gil are varied, respectively. Yeon's figure attached to Gil and Somaejindong is a mountain. Git is Bangryeong and link parts between Git and Gil is connected with Sangchim. This Hakchangeui is considered to playas a gown because it has no string or support to adjust his dress. Especially we can identify that Hwayanggun(화양건) was used in this Hakchangeui.

• Journal of Acupuncture Research
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• v.32 no.4
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• pp.103-107
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• 2015

Objectives : This study was performed to understand the meaning of acupuncture at sea point in an sprain in orther to Yin Gi. Methods : We have researched some oriental books and articles about ankle sprains, Kyung Keun, acupuncture and five su point. And we investigated the meaning between the sea point and Yin Gi in acupuncture of an ankle sprain. Results & Conclusions : In other to Yin Gi, using the sea point in an ankle sprain, there are two meanings. One is decreasing pain through regulating UmYang, and the other is regulating the mobility of the ankle joint using Kyung Keun.