• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.1017-1025
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• 2013

As various types of regional festivals are contributing to the growth of local economy, promoting the culture, and enhancing the region's images, representative festivals are getting more important for local governments. This study analyzed the correlation between satisfaction on festivals' attractiveness and images of the region, based on an actual field study taken with respondants who visited 2012 Anseong World's Folkloriada Festivals. Among various facets that affect festivals' attractiveness, 4 factors such as services aside from transportation and promotional guides, programs, convenient facilities, and food significantly affected tourists' satisfaction level. Tourists' satisfaction level was found to have significant impact on the enhancement of local images. Based on these findings, this paper suggests implications and limitation of the research as well as future directions for the study.

• Archives of design research
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• v.15 no.4
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• pp.67-76
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• 2002

This study is mainly based on the introduction process of formative art education method of Korean Bauhaus which was brought in this CQuntry through Japan. The introduction routes into Korea of Bauhaus education method by way of the United States through Germany have been disclosed since 1945, including Korean students studying in the United States as well as Scandinavian countries. Those introduction of Bauhaus method by Korean students into Korea had influenced the domestic university education. However, it was worth notice that Park Hui-rak pointed out through his writing that Bauhaus education method had already existed in the CQuntry before 1945 when korea was liberated from 35 years of Japanese colonial rule. Park hinted in his book of "Korean Design History,199B" that the curriculum of primary school, then affiliated with Taegu Education College had been possibly influenced from Composition Education" idealogy led by Japanese Kawakita Rensichiro. In Japan, Bauhaus education method had been independently introduced by civilians like primary school teachers of Kawakita. However, the possible introduction of the informative art education in the country by way of Japan leaves a lot of things to be considered. Because, the introduction was carried out by Choson governor-General which took charge of colonial rule of korea. Accordingly, the purpose of this study is to make full explanation on the introduction of formative art education and on the types. For that purpose, examinations on various materials and information released by many educational institutes as well as by choson Governor-General were included. As the result, it was possible to find out a trace of "Composition Education : Japanese Bauhaus Formative Art Education" in 1937, one year earlier pointed out. And it was remarkable that two interested books were found out, which mainly dealt with Spanung of Composition and Dynamic sense. Finally, through examinations in many aspects, five drawing education books written in 1930s, such as Drawing Guide Details and indication, were proved to be equal to Bauhaus Composition Education in terms of terminology and contents. Moreover, it has been made clear that Composition education Choson was made mostly under the control and management of Choson Governor-General in the of books on education systems in then education college.

• Archives of design research
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• v.17 no.1
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• pp.37-48
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• 2004

Keiji Kobo is a unique self-generated design research group in Japan, which was founded in 1928 when Bauhaus movement was in its peak, and which lasted ten years until the end of the Second World War, when any activity of the group became virtually impossible due to the war. With insight to see the future, the group aimed at Modern Design advocating a new spirit in architecture, and played a significant role in prosperity of Japanese Modern Design assimilating Western design trends. Pursuing of craft works for everyday life--practical furniture works--Keiji Kobo actively executed various projects to realize modern philosophy. The range of the works of this group was very large: survey, mock-up, experiment, research, exhibition, lecture, order-based sale, advertising and writing. The works of the group were oriented to serious academicism, not compromising with commercialism. Considering the peculiar political situation such as Japanese Militarism, the spirit of functionalism that the group pursued was surprisingly academical and pure. This group was relatively small and clumsy, which lasted as short as around ten years. However, strong motivation was in their seemingly quiet movements, and the influence of the group cannot be underestimated even with today's criteria. There were a number of pioneers who contributed to today's prosperity of Japan and Keiji Kobo can be estimated to be one of the pioneers in the field of design. It was found that the contemporary intellectuals hoped that the committment and activity of the group would contribute to modernization of the life quality of ordinary people. In a sense, Keiji Kobo can be estimated to be a little Japanese equivalent for Bauhaus that could not fully bloom.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.4
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• pp.86-92
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• 2019

Polymers with various compositions of azobenzene and hexamethylene groups in the main chain were synthesized by a Schotten-Baumann reaction and their properties were investigated. The chemical structures and physical properties of the synthesized polymers were investigated by Fourier transform infrared spectroscopy, proton nuclear magnetic resonance spectroscopy, differential scanning calorimetry, thermogravimetric analysis, polarized optical microscopy, and x-ray diffraction. The polymers showed an inherent viscosity of 1.28-1.36 dl/g and were relatively insoluble in most organic solvents. The melt transition temperature increased rapidly with increasing number of azobenzene groups in the polymer. When the azobenzene monomer content was more than 50 mol%, no melting transition occurred below the decomposition temperature. Among the polymers with a melt transition temperature, the MP-A3C7 and MP-A5C5 polymers were liquid crystalline materials and exhibited a nematic phase with weak liquid crystallinity over a wide liquid crystal temperature range. This difference in the properties of the synthesized polymers is likely due to the changes in intermolecular forces resulting from the linearity and polarity of the trans-form of azobenzene.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• Archives of design research
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• v.12 no.3
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• pp.43-52
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• 1999

For Bauhaus, the vaious typography experiments developed around the printing workshops, and it was only in the later Weimar Period that L. Moooly-Nagy, who came to be in charge of the rxinting workshops, approached it from the functional way of thinking and demanded print type reforms Using this as the basis, a new form of typograph called "typophoto" was developed by combining images and characters together using photography techniques and Bauhaus Unification Chaacter producyion. Harbert Bayer, striving at molds based on the ideologies of L. Moody-Nagy, prepared the framework for modern informational advertisements by producing a variety of advertisements based on several law of psychology and physiology. Bayer's successor, Joost Schmidt focused on lettering based on functionalism and typographic training and practice, while pioneering in the new area of display design wiwh efficient usage of space for exhibitions a1d dsplays. Thus, despite being carried doWl by the same leader in the sane era, the series of typographic experiments undertaken by the artists Bauhaus present guidelines to the direction modern visual communication must take through creativity and insight into the upcoming future that is not contained within the boundaries of traditions and customs.and customs.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Archives of design research
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• v.14
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• pp.209-219
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• 1996

The BAUHAUS started as the purpose of training the people who are designers in the industnal society or who have artistic talent as architect, handicraftman, sculptor, and in the construction, it was based for entire organizational training for every handicrafts in the aspect of the art and form. The preliminary course that became the generative power of the human training that have possessed creativity was studied and put in to practice through the formative activity of dIverse form and method according to the educational idea and the educational method of the teachers who are in charge of such edudation, and common access method that forms the fundamental basis was centered not only human being as a formative principle, and analyzed thoroughly with biological function and further until mental and philosophical part but served and thought synthetically and took principal objects at the formative practice. Together with this, the characteristic structure of the BA UHA US's formative education was taking the grouptherapy educational method where there was not distinguish teacher and student and through the liberal criticism and they realize by experience themselves that how to solve the certain subject and pursue the form by compare each other's solutions.

• Archives of design research
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• v.11 no.1
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• pp.81-88
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• 1998

In the history of the design movement since 18708 in Japan, four eras can be seen; the first era started with the opening of Meiji era and oontinued to the World War I, the second era to the World War II, the third era from right after the second world war to 1960, and the fourth era after 1960. Before the second world war, the design education of Japan had been influenced by plenty of modem design movements which brought about in Europe such as Art and Craft Movement of William Morris, Deutscher Werkbund, and Bauhaus and by American industrial design after the World War II. Japan which early introduced western civilization established design department in universities in 1940 professing itself to be a original design education. And Japan has kept making progresses with the help of design policies of the government until now, and has seen the tornadoes of education revolution in every university after the oollapse of bubble eoonomy.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.329-334
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• 2021

This thesis examined the characteristics of constructivism that brought about expanded expression of modern jewelry, and also organized how the constructivism was utilized for jewelry. The objective of this study is to examine the attempts of new materials based on constructivism and various expression styles, and also to understand the concept of constructivism developed into an element of complex formative expression. For this, this study organized the characteristics of constructivism that was initially expanded from Bau Haus in the aspect of expression through the composition of material and space, and also analyzed the jewelry artists' methods and attempts to express various materials. As a result, the constructivism showed the expansion of the formativeness of jewelry in the formative aspect of steric expression and in-depth concept through the composition of architectural pattern, visualization of space, and use of other materials, which becomes an example of basic formative element of modern jewelry design. However, it is limited to the material formative element of constructivism, so the expansion of design would be needed. Thus, there should be more researches on the expansion of various jewelry designs that could express the philosophy of constructivism.