한국산업공예의 활성화 방법 연구

추원교(Choo, Won-Gyo),이형규(Lee, Hyung-Kyu) 한국조형디자인학회 2000 조형디자인연구 Vol.3 No.1

The parad igm shift in indu stria l cra ft at the end of 20th Century is so fast that produ cers. managers. and cra ftmen need to adapt themsel ves to the cha nge. Due to the government' s emphas is on ex port. se rious att enti on and in vestment have been made in indu strial design departm ents . Yet the role and Iuction of industri al craft department has been dimini shed. Thi s study takes a historical approach to explain the formati ve peri od of indu stri al craft and to find an alte rnative pl an for the indu stri al craft ac tivatio n meth od in the 2 1s t Century in Korea. It also seeks to provide a new vision in the area of industrial craft. It explains the degree of general publ ic' s recog nition of Korean industrial craft, the sys tem of craf t education in the uni ver siti es, the gove rnmental polic ies, the sys tems of produ ction, marketin g, adve rtisement, and the composition of design in comparison with those of foreig n countries. This study suggests that the following steps must be taken to activate industrial craft. First, it is necessar y to es ta blis h a special guidi ng craft fac il ity . We hav e not o nly an organized gove rnmental supporting sys tem, but also have a clear concept for industri al craft in Korea. It needs to develop and increase togeth er busin ess and creating product so that it can improve the effect. Seco nd, it is necessary to protect design property right in industrial craft. It has long and such harmful coping design history, and that is why some of investors hesitate to invest their capital. The produ ct s with pir ated design must never be so ld anymore in any mark et with mor ally matured soc iety. Third, it is necessary to deve lop a corporation sys tem between industrial craft companies and un iversit ies . The soc iety and government have responsibiliti es to ree duca te designer s and mac hanics , and techni cians for impr oved qualit y of the design. Also craf t companies co uld have bett er chance to have goo d designer s if they take co llege stude nts as intern employees before their graduation. The intern students can famil iari ze themselves company sys tems and develop practical knowledge. Forth, it is necessary to cultiva te cultural and socia l poli cies. It is bett er to have simple rmarketing and distr ibuti on struc tures to activate industri al craft business. It will be helpful to open all-year-round ga llery and museum for craft products , to develop databases, long term plan s, and information centers. Creative design from cultura l identity can only survive in the internat ional market. Fifth, an effort needs to be made to guide our dayli fe co nsumer patt ern s with usin g good quality crafts pr odu ced within the se nse of our traditi on al valu es and th e tim es . Mod ern cra ftmen and busin essmen in Korea must coo perate to produ ce new images of cultural crafts for the buildup of international marketin g potent ials. The importance of cultural identiy must be emphasized as a point of connection between the industrial products and creative cra ft arts. This pape r concludes that it is urgent to find a way in which diverse craft areas can coopera te to deve lo p a lon g-t erm plan . A devel opment of new desi gn produ ct s , an improvement of dist ributi ve struc ture, a rev ision of gove rnmental supporting sys tem, and the achievement of international competitiveness will contribute to developing the industrial craft art in Korea.

선비의 문방용품에 내재된 문화적 정체성

추원교(Won Gyo Choo) 한국디자인문화학회 2004 한국디자인문화학회지 Vol.10 No.4

The spirit of Seonbi centered on neighbors and national development was a support for the society. Since Seonbi concentrated only on studying while paying no attention to their family affairs, rooms where they usually spent time came to get characteristics as a study room. The Culture of Stationery took root in the leading group of the society during Three Kingdoms, and it spread even to the general public in the Corea Dynasty. When it comes to manufacture technology of 4 main stationery, Baekmu paper of the Sinra Dynasty was spread even to China, and paper and inkstones of the Choseon Dynasty as well as ink stick called Songyean of the Corea Dynasty were compared to treasures by Chinese scholars. The 4 main stationery (brush, paper, inkstone and ink stick) all reached a high level. Symbols or expressions implied in the 4 main stationery or other writing materials are about studying, spirit, integrity and dream. Seeing the Culture of Stationery of the Choseon Dynasty as a part of Confucian culture is a exterior view, and a insight into nature was contained in it. With a scent of nature in itself, it is precise and simple without vulgarity. Mild, order-oriented, clear and right spirit of Seonbi, seeking a poor but honest living as the most important principle, can be expressed as elegance of ume flower, scent of orchid, gloss of mum, and clearness of bamboo. The beauty of stationery in the culture of Seonbi gave birth to an elegant, clear and simple style.

한국남성의 신변장신구에 내재된 문화적 정체성

추원교(Choo, Won-Gyo) 한국조형디자인학회 2003 조형디자인연구 Vol.6 No.1

Korean men of the late Joseon Dynasty lived in a culture where the philosophy of Chu Hsi, or Neo-Confucianism, prevail ed as the ruling ideology of rural society and religion . In particular, scholars , who cons tituted the ruling class in that era , tried to follow the cour se of nature in all that they did. They took pleasure in arti stic pursuits such as poetry, calligraphy and ink and bru sh painting in everyday life. Also, Korean men at that time were highly conscious of what others thought of their beha vior and put honor before practical gain. They thought much about moral duty and cultiva tion of charac ter and thus valued the intern al and mental aspects of life. In this cultural contex t, Korean men extended the beauty of accessories to the arti stic and moral dimensions. Th ey expressed the elega nce of quiet rural life and th eir belief in poor but honest living in their personal ornaments . Except for those used in ritual cerem onies, Korean men's acce ssories were neither gaudy nor fancy, even when ornamented with high quality materials. The maj or charac te ristics of men 1 s accessories in the late j oseon Dynasty were as follows. First, although various materials were used to make the acce ssories, the kind s of materials used depended on the social status of the wearer. Second, although rules were frequently made to prohibit luxury, the yangban cla ss, Korean noblemen in the ]oseon Dynasty, rarely observed the rules, wherea s the common people were strictly required to do so. Third, there was an emphasis on hair orna ment and therefore many accessories for the hair. Fourth, elements of folk religion and social values were expressed in the pattern s decorating their accessories. In parti cular , Korean men of the late j oseon Dynast y enjoyed wearing acce ssories carved with pattern s expressing loya lty and fidelity. In conclusion, the sty le of Korean men' s accessories was formed in the late j oseon Dynasty in a culture where scholars and "middle people" - those belonging to the rulin g clas s but engaged in technical jobs - put great importance on honor and form. Though they wore acces sories, they tried to stick to a simple and modest lifestyle. Th erefore, their accessories were simple and plain, as seen in the narrow belt s that men wore around their waists.

위성용 고 신뢰성 Proto-type 보조전원 공급기 개발

추원교(Won-Gyo Choo),김현구(Hyun-Gu Kim),우형제(Hyung-Je Woo),구자춘(Ja-Chun Koo) 한국항공우주학회 2010 韓國航空宇宙學會誌 Vol.38 No.1

위성용 보조전원 공급기는 임무기간 운용 중 위성체 부하에 전원을 안정적으로 공급하여야 한다. 이 보조전원 공급기는 고 신뢰성을 위해 몇가지 제한 사항을 요구한다. 본 논문에서는 이 제한 사항을 모두 만족 시키도록 보조전원 공급기를 설계하였다. 또 보조전원 공급기를 제어하는 회로는 다수결 판정회로를 사용하여 단일 기점 결함이 없도록 설계하였으며, 이를 증명하기 위해 견본을 제작하였고, 시험되었다. The auxiliary power supply for satellite should make the power safe and support it for subsystems during its operational lifetime. Several contstraints should be required to get high reliability. In this paper, the auxiliary power supply was satisifed and designed to be satisified with some contstraints. Control circuits for the auxiliary power supply used majority voter circuits to remove the single point failure. To verify majority voter circuits, proto-type auxiliary power supply was manufactured and tested.

고대의 수은도금법과 보존

추원교(Won Gyo Choo) 한국디자인문화학회 2006 한국디자인문화학회지 Vol.12 No.3

조선시대 관복본 초상화에 나타난 족좌대의 변천과정

추원교(Won Gyo Choo),방진희(Jin Hee Bang) 한국디자인문화학회 2013 한국디자인문화학회지 Vol.19 No.3

본 연구는 조선시대 초상화에 그려진 족좌대에 관한 연구이다. 공신이나 관직에 있었던 사람들이 교의나 의자에 앉아 발을 얹고 있는 초상화에 족좌대는 거의 필수적이었지만 현존 유물이 없는 실정이다. 조선 초기 초상화는 고려 말을 계승하였고, 족좌대도 마찬가지다. 1453년경의 <신숙주 초상>은 고려 양식을 이어 조선의 족좌대 양식을 보여주는 최초의 초상화이다. 이 양식은 공신상 족좌대의 모범으로 1712년 연잉군 초상까지 이어졌다. 공신상의 족좌대 양식은 정면과 측면의 머름칸 구조와 구름형태로 정교하게 조각된 다리이다. 머름칸 안에는 <손소 초상>부터는 4가지 도형들이 그려졌다. 조선 중기에는 중국 초상화의 팔자형 혜나 호피깔린 의자, 자연스러운 나무결을 좋아했다. 17세기부터 청(淸) 말기까지 지속된 정면관은 잠시 조선에 나타났다 사라지고, 8~9분면의 조선 초상화 양식으로 돌아선다. 중기에는 중국풍의 영향을 <김석주 초상>에서 보듯 천판 위나 아래에 호피나 표피머리가 있고 정면은 다리가 없이 기하학적 안상문(眼狀紋) 형태로 오려낸 족좌대가 선호된다. 천판에는 18세기 중반까지 청색이나 녹색테를 두른 민돗자리가 깔리기도 하지만, 18세기 초부터 화문석이 깔리기 시작해 조선 말기에는 화문석이 거의 놓여진다. 후반기에는 족좌대 형태도 낮은 다리굽이거나 없는 형태에, 전면은 길상문, 불교적 보상화문 등이 조각되며, 목재의 색은 중후한 느낌을 주는 짙은 자단같은 목재의 색감이 선호되고, 19세기 말 <이하응 초상>에는 다시 머름칸 구조 양식에 장석으로 감싸주는 형식이 등장한다. 족좌대는 중국이나 일본 초상화에도 있지만, 고구려 벽화에는 보이지 않는다. 족좌대는 송(宋)의 발받침 양식과 원(元)의 교의 습속이 어우러지면서 발전된 양식으로 생각된다. 조선 초상화에서 족좌대는 공간의 허(虛)를 채워주었고, 보여지는 나를 중시하던 조선의 유교적 문화에서 품격있는 모습을 보여줄 수 있는 조선 특유의 초상화가 창조한 양식이었다. This study deals with footstools shown in the portraits of the Joseon Dynasty period. A footstool was an indispensable element in the portraits of either meritorious retainers or government officials, who sat down on a chair and put their feet on it. Unfortunately, now we have no existing relics of those footstools in the portraits. In the beginning of the Joseon Dynasty, the way of drawing portraits succeeded that of late Goryeo. As such, the footstool did too. <Shin Suk-ju’s Portrait>, drawn around 1453 in accordance with Goryeo``s drawing style, was the first portrait with a Joseon-style footstool. The footstool in Shin Suk-ju’s portrait represents that which was used to portray meritorious retainers, and continues to appear up to Prince Yeoning’s portrait in 1712. This footstool in the portraits of meritorious retainers shows the wainscot structure on both the front and the side while the leg is exquisitely carved with cloud patterns. Since <Shin Suk-ju’s Portrait>, or the so-called <Son Soh’s Portrait>, the paintings used four kinds of Fig.ures in the space of wainscot. During the mid-Joseon Dynasty period, Chinese-style elements such as 八-shaped shoes, a chair with the rug of tiger skin, and natural wood grain gained popularity. In this context, the splendid expressions made with gold dust on the varnishing or the front style, which existed from the 17th century until the end of the Qing dynasty, appeared for a short period in Joseon Dynasty, only to disappear soon after. Then, Joseon``s portrait style returned to the typical 8th to 9th-division portrait. With the influence of the Chinese style in mid-Joseon, as shown in <Kim Seok-ju’s Portrait>, one can observe a preference for a footstool with the fur of a leopard or tiger head either on or below the top board. Furthermore, the front of the footstool does not have legs while it shows a pattern in the shape of an elephant’s eye carved in. Until the mid-18th century, a plain-pattern mat surrounded by either a blue or a green frame was spread on the top board, However, from the beginning of the 18th century during King Sukjong’s reign, a flower patterned mat replaced the plain one. Since then, in most cases during the late Joseon dynasty period Fig.ured mats were spread on the top board. During the latter period of Joseon Dynasty, the form of footstools was characterized by its low or no heels while the front was carved with patterns symbolizing happiness and longevity or Buddhistic floral medallion motives on the 2nd or 4th column. In terms of the colors of the wood, the most popular one was that of thick rosewood which delivered a sense of solemnity. At the end of the 19th century, in <Lee Ha-eung’s Portrait>, one can find resurgence of the patterns of the wainscot structure, now surrounded by metal strips. Footstools were drawn in both Chinese and Japanese portraits, whereas they cannot be found in Goguryeo’s murals. In this vein, it can be inferred that footstools may have been developed from a harmonized amalgam of two strands: Sung (宋)’s leg-rest style and Yuan (元)’s fold-down chair style. In Joseon Dynasty’s portraits, the footstool had mainly two functions. First, it filled in the emptiness of space. Second, considering Joseon Dynasty’s Confucian culture which places much importance on how it is seen, it contributed to exhibiting dignity in the portraits of the Joseon dynasty.

제주도의 석공품에 내재된 문화적특질

추원교(Choo, Won-Gyo) 한국조형디자인학회 2002 조형디자인연구 Vol.5 No.1

Natural beauty and the trace of life are integrated in the stones in Cheju-Do. Their own stonebasic culture in Cheju-Do built and grew up on the megalithic culture fundamental. Thus we could find now the neolithic and palaeolithic relics everywhere in Cheju-Do. Whenever they needed help by themselves or for the neighbors, the people in Cheju-Do organized various kinds of cooperative community system. By the way, people who lived in Cheju-Do tended to reject foreigners or to defend by themselves so strongly. We can recognize that there are more defensive equipments than attack-purposed things in the stone facilities in Cheju-Do. People naturally and fully used stones for constructing buildings and making crafts in ChejuDo. The materials for dairy-life and construction usually were made of stones, and we hardly find any precise plan or the aesthetica l principle in them. They just pick and use the natural stones and touched them a little bit for finishing. They try to keep the factors which come from the nature when they create the stone arts. The architectures and crafts made of stone in Cheju-Do represent a naturalism under the circumstance of using the 'technique of non-technique' and 'plainness' . Besides stones in the field annoying the farmer in the land, adju sted wildnature-environment stones become a useful item for dairy-life and arts in Cheju-Do. Thus there would not be found any colors and decorative motives of stone arts in Cheju-Do. Trying to find the beauty of the formation from the stone arts in Cheju-Do indicates nothing but getting into a habit of looking for artificial elements. Recently the potter in Cheju-Do began to create some ceramic pieces by using the stone-basic clay. The stone-basic culture in Cheju-Do represents the specific natur alism which developed from the most southern and territory far away from the land of Korea.

International Formula 3 Korea Super Prix를 위한 금속제 관광기념상품 개발 연구

김영옥(Kim Young-Ock),추원교(Choo, Won-Gyo) 한국조형디자인학회 2003 조형디자인연구 Vol.6 No.1

It must be very meaningful and significant that The International Formula 3 : Korea Super Prix ' is held in Gye ong sangnam- do as Korea is one of th e largest automobile produ cers in the world. Culture will be mor e and more important as tim e pas ses so th at th e scope s and volumes of tourism souvenirs must be very extensive. This paper reviews the history of The Internation al Formula 3 : Korea Super Pri x 'F3 and th e th eoreti cal s tru cture for tourism souvenirs and their designs. It survey s and an alyses what kinds of tourism souvenirs for ca r racing th e othe r count ries have developed . Making up a questi onnaire, it sugges ts th e directi on s for th eir designs as follow s : 1) A va riety of tangible and int angible mat erials should be used. 2) Souvenir bu sines s should be man ag ed in th e rati onal and scientific way. It follow s th at production and marketing should he separated. Specifica lly cus tomer - oriented disp lay and cus tomer-friendly sa le, an information office or booth, and others will make the mark et contro l their quality. 3) More money should be invested for mark eting the special souvenirs to eve ry touri st to att ract more tourist s. Th e connect ive and related tourism with them should be developed in order to inform effectively of their cultural stories, which induces other kinds of tourism souvenirs developed. 4) Intern et sites for tourism souvenirs should be open in the all homepages of Korean auto maker s as well as F3 car racing connections so that each shop sells them through the on- line and off- line mark ets, manages eve ry cus tomer, and excha nges his mark eting information with each other. Th at causes new tourism souve nirs developed and helps us to have a good public relations with automakers, which make automakers save money. Th e F3 tourism souvenirs and their design s have not yet been studied and developed well enough. Taking considera tion of Fl ca r racing programs in the advanced countries, it is very important to study Korean tr aditional design s because tourism souvenirs originated from the study are not simple ones but convey the cultural images of the regions or countries concerned.

명품 주얼리 브랜드 구축과 마케팅 관리전략

허순범(Heo, Soon-Bum),추원교(Choo, Won-Gyo) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.1

소비재 시장에서 좋은 상품 브랜드를 만드는 일은 기업에 보다 높은 부가가치와 수익성을 안겨주기 때문에 많은 디자이너와 마케터의 관심의 초점이 되어왔다. 특히 브랜드 이미지가그 매출에 있어서 결정적인 역할을 하는 패션, 주얼리 제품의 경우에는 더욱더 그러했다.본 연구는 한 브랜드를 세계적인 명품브랜드로 키우기 위한 주얼리 기업의 브랜드 구축전략에 대한 연구다. ‘명품’ 브랜드들을 선정하여 이러한 브랜드가 시장에서 명품으로서의 인정을 받기까지, 그리고 이러한 이름을 유지하기위해 어떠한 과정과 전략방식을 활용하였는가를 사례 중심으로 연구하였다.연구를 위해 선정한 5개 브랜드에 대해 핵심성공요인(KSFs: Key Success Factors)을 도출하고, 브랜드 구축과 유지전략의 가이드라인을 제시하였다. 연구결과를 요약하면, 첫째, 명품브랜드는 각 나라를 대표할 만큼 오랜 역사와 전통을 지니고 있었다. 둘째, 명품브랜드는 브랜드를 표현하는 디자인 아이덴티티가 있었다. 셋째, 명품브랜드는 그에 얽힌 유명한 스토리가 있었다. 넷째, 명품브랜드 기업은 그들만의 독특한 기술을 보유하고 있었다. 다섯째, 명품브랜드는 상품의 디자인이 공증된 경우가 많았다. 여섯째, 명품브랜드의 생명은 희소가치였다. 일곱째, 명품브랜드는 무리한 확장을 하지 않았다. 일곱째, 명품브랜드는 무리한 확장을하지 않았다. 여덟째, 명품브랜드일수록 고객관리가 철저했다. 이러한 결과에 대한 디자인과 마케팅 전략적 의미와 향후 연구과제 등도 논의되었다. Building and maintaining good brand image for a product has been one of the focal activities of many marketers because good brands bring about high levels of profit and added value for them. In particular, marketers of luxury items such as fashion and jewelry goods have been paying much attention to building their brands because brand image plays a major role in consumer purchase decisions. In this study, we investigate what companies need to do to establish a good image for their brands. Specifically, we select and analyze successful cases and examine how marketers have built and maintained such brands. The analysis results in some KSFs (Key Success Factors) and practical guidelines for brand management. Design and marketing implications of the results are discussed. brand management, building brands, key success factors, brand strategies, brand image

이토히로토시(伊藤廣利)의 반(盤) 작품론

류연희(Yeun Hee Ryu),추원교(Won Gyo Choo) 한국디자인문화학회 2013 한국디자인문화학회지 Vol.19 No.3

이토히로토시는(伊藤廣利) (1939년-1998년)는 동경예술대학 교수로서 1960년대부터 90년대까지 활동한 일본 금속공예의 대표적인 인물로 22년간 ‘반‘(盤) 작품을 제작 하였다. ‘반``은 그의 작품세계중 대표적 연작으로 총 117점을 남겼다. 본 연구에서는 117점을 대상으로 연구하였다. 따라서 본 연구는 그의 반 작품들을 통해서 현대의 일본공예의 조형철학과 방법론의 연구를 통해 이토히로토시의 작품이 일본 현대 금속공예의 시대정신을 어느 정도 통찰하고 반영하고 있는가, 작품의 시대성, 작가의 사회적인 역할, 작품들이 갖고 있는 독자적인특색을 찾아보려는 것이다. 이토히로토시가 형성해온 작가 관에 입각하여 독창적인 예술세계를 전개해 나갔는가를 재조명하는데 목적을 두고 있다. 연구방법은 1998년 작고하여 이토히로토시에 관한 자료가 많지 않은 관계로 후지노(藤野宗次郞)컬렉션, 단금 이토히로토시의 세계(鍛金 伊藤廣利의 世界) 상설전의 자료와 이토히로토시의 부인 이토키요코(伊藤淸子)와의 인터뷰 자료와 논문, 문헌 조사 등 종합한 내용을 기반으로 구체적인 사실을 재조명하고 있다. 본 연구는 이토히로토시의 반의 형태적 비교분석, 조형적 장식문양, 제작과정, 표면처리에 대한 연구를 통해 반에 나타난 그의 조형세계를 새롭게 후세대들과 공유하고 21세기 현대공예의 새로운 지평을 여는 토대가 되고자 한다. 이토히로토시의 작품은 가장 근원적이며 단순한 반의 변형형태의 추구 속에서 유희적 즉흥성과 금속공예 특유의 화려한 재료의 특성과 기법을 살려 성공적으로 결합하고 있다. Hirotoshi Ito (1939-1998) was a significant figure in Japanese metalwork as a professor at Tokyo University of the Arts from 1960 to the 90`s during which he created his ‘Dish’ works for 22 years. ‘Dish’ was one of his major series of which he left behind a total of 117 pieces. Those 117 works were researched in this study. Therefore, this study was conducted in order to find how much Hirotoshi Ito`s works penetrate and reflect the spirit of the times of Japanese contemporary metalworks, and also to study the contemporary character of his works, the artist`s social role, as well as the works` distinct characteristics by researching the plastic arts philosophy and methodology of contemporary Japanese crafts through Hirotoshi Ito`s dish works. The purpose is to review whether Hirotoshi Ito had developed his own creative art world based on the artistic view he had formed. Due to his passing in 1998, not much data remains about Hirotoshi Ito. Therefore, research method consists of comprehensively studying the following materials which were used to shed light on specific facts; the permanent exhibits of the ‘Fujino Collection,’ the ‘World of Dangeum Itohirotoshi,’ interview records with his wife Kiyoko Ito, as well as conducting theses and literature research. Through comparative analysis on the dish shapes, as well as research on plastic ornamental patterns, making process, and surface treatment, this study intends to share his formative art world with the following generation and to become a foundation for the prospects of 21st century contemporary crafts. Hirotoshi Ito`s works pursue the modified forms of a most primal and simple dish shape, bringing the playful spontaneity as well as certain glamor and technique of the materials used in metalwork to life, and successfully combining them.