• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.52-60
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• 2014

The purpose of this study is to analyze about the extension of user experience in the digital space. Through the digital technology and virtual space, the city's new environment is being changed. it makes people activate their aesthetic experience. Simultaneously, it elevates satisfaction levels regarding people's aesthetic experience. Research methods and settings of the range to study on the Extension of User Experience are as follows: First, establish digital space's characteristics comparing digital space at the structural change-points in modern society. Second, experience's approch way through the digital media in the contemporary space. And understand the concept about a variety of User Experience. Third. to classify the elements of access control for the user experience. Experience is being expanded through the generation process. Fourth, investigate analysis of the case studies, focused on the architecture and space design_Media installations that appear in the city park, the city's landmark buildings facade, the building facade by offering commercially applied for brand marketing_ announced through the media recently. Also, it is to look at the physical elements through digital media and to analyze the applicability of the public space. Therefore, the new approach to digital implementation shall be determined by looking in the direction of the user approaches.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.11
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• pp.1381-1388
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• 2005

The purpose of this study was to identify features of masstiege high-end products by comparing to original old high-end products. For this purpose, the differences in values between each consumer groups divided by preferred products types (high-end products, original old high-end products) were examined. This study was executed by consumer survey and 279 female data were used in analysis. The results are as follows. First, the value factors pursued on high-end products were constructed by factor analysis and the factors consisted of 4 elements; conspicuous, aesthetic, durable, conformity. Next, the differences in value elements between masstiege high-end products and original old high-end products were identified by t-test. The consumers preferring original old high-end products pursued conspicuous features significantly more and the consumers preferring masstiege high-end products considered aspects of aesthetic and conformity elements as more important. And according to kinds of preferring high-end product, demographic characteristics were different. The consumers who were of high age, high education and high income and married consumers preferred original old high-end products, whereas the consumers who were of low age, low education and low income and unmarried consumers preferred masstiege high-end products. Finally, marketing strategies for masstiege brand were suggested on the base of the results.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.66-83
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• 2010

Huafu is the traditional clothing of the Han Chinese as the significant cultural symbol of Chinese civilization. The resuscitation of Huafu is an exemplification for the pride of a nation, due to China's rapid economic development and a craze for Chinese cultures. Huafu's resuscitation is not only introducing the traditional design factors of Huafu into the contemporary fashion but also reflects the image of Chinese style created to modernize works. Through the study of the history of Huafu, it could be summarized that Ruqun(Zu-chin), Shenyi(Shen-yee), and Shan were the most important and typical types. The characteristics of Huafu were primary colors or strong contrast with achromatic colors, flora and fauna patterns, and geometric patterns. The clothing aesthetic of Huafu could be summed up as spacious, delicate, gorgeous, clandestine, and unconventional character. There were lots of elements in Huafu that could provide inspiration for contemporary fashion designers, such as forms, colors, patterns, details, and also the aesthetic. Based on the analysis of the Chinese designers who applied the elements of Huafu into contemporary fashion design, it could be recognized that the Chinese designer's works were made using the elements of traditional Huafu directly or using new fabrics and techniques to give a modern sense, but also embodies the Huafu's clothing aesthetic at the same time. In the wake of the resuscitation and publicity of Huafu, the essential factors of Huafu will be able to provide inspiration for designers not only for Chinese but also around the world.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.60-76
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• 2009

The purpose of this study is to present the viewpoint on the 'clothes' as a part of art works which has the kunstwollen(artistic will) and the philosophy of a creator rather than just an outfit. For the literary research, this study investigates the history of Iconology and the E. Panofsky's theory. In order to make up for the limitation of Panofsky's iconology, applies the theories of H. Gombrich and N. Goodman. For the case research, Vivienne Westwood is selected because her fashion works have been mentioned as the artistic pieces by many fashion critics or the presses. Also Westwood has different social and cultural contexts which based on the periodic background, social influences and cultural actualities. The conclusions of this study are as follows. First, in order to read the symbolic meaning, the kunstwollen and the aesthetic consciousness of the fashion designer's works properly, the systematized interpretation method is necessary. Second, the creative works of Vivienne Westwood have been influenced by the various external elements. Especially her national background and identity are the main elements which have governed her creation. Third, Vivienne Westwood creates her works not just to wear but to incorporate the ideology and the philosophy of herself. She expresses the kunstwollen and the aesthetic consciousness through her works. Forth, Vivienne Westwood pursues the communication between the human being and the world. Fifth, fashion makes various attempts to combine with different artistic fields. The 21st century fashion has developed to new direction with diverse trials and combinations. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.757-764
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• 2021

This study analyzes the signification structure and mythical meaning of Hirokazu Koreeda's documentary . In other words, by approaching the signification structure of the semiotic elements that constitute storytelling, the mythical meaning implied by is widely examined. It is to discuss the essential characteristics of the aesthetic form he is aiming for, and at the same time, to look at the aesthetic type that expands the meaning value of documentary storytelling. In particular, Hirokazu Koreeda uses typical and symbolic elements in harmoniously in the storytelling process. By applying such a dual aesthetic form, it effectively conveys the mythical meaning required in the times to the audience. Therefore, is a signification system that emits mythical meaning, and it reflects the aesthetic intention of Hirokazu Koreeda who has confidence in the imagination of the audience.

• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.3
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• pp.99-107
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• 2011

The prime purpose of this study is to view traditional residential space not only as visual and figurative but also experiencing space from the perspective of aesthetics. This study points out that traditional residential space should be perceived as "true space" of connecting people, life and experience. Although it was not clearly defined as a visual entity, the value, phenomenon and experience of space materialized through conjecture and expectation are interpreted as the arena of aesthetics and philosophy. This study aims at drawing a conclusion that the characteristics of traditional residential space, which is perceived as experiencing space centered on objective and subjective human behaviors, makes a linkage to aesthetic elements.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.2 s.2
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• pp.107-119
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• 2004

Dan-chung had many great traditional patterns of Korea. By investigating its patterns, which comprise the integral part of the formative features, and analyzing the aesthetic characteristics and formative beauty, the foundation was set to use the patterns as the motives of art makeup works. A focus was made on the basic elements, compositions and symbolic meanings of Dan-chung patterns. The representative patterns that were used a lot in Dan-chung made the motives of the four art make-up designs, which tried to integrate the aesthetic senses of the Dan-chung patterns into the art makeup venues. The four patterns were each based on the phoenix, bat, ghost face, and crane. The major colors used were white, black, red, blue and yellow, which were also the cardinal Five Colors of Dan-chung. They were changed in terms of luminosity and coma and manipulated to make harmony with intermediate colors so that the designs would ooze out the Korean aesthetic senses.

• Journal of The Korean Digital Architecture Interior Association
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• v.10 no.3
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• pp.53-62
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• 2010

The prime purpose of this study is to view traditional residential space not only as visual and figurative but also experiencing space from the perspective of aesthetics. This study points out that traditional residential space should be perceived as "true space" of connecting people, life and experience. Although it was not clearly defined as a visual entity, the value, phenomenon and experience of space materialized through conjecture and expectation are interpreted as the arena of aesthetics and philosophy. This study aims at drawing a conclusion that the characteristics of traditional residential space, which is perceived as experiencing space centered on objective and subjective human behaviors, makes a linkage to aesthetic elements.

• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.51-61
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• 2002

This study deals with Rhythm which is one of aesthetic variables. Aesthetics among the factors of consumer preference has been importantly considered in competitive market environment. Therefore , consumers' purchasing standard has been also changed as their consciousness has been changed according to the variation of their lire style. Besides, the technique and method of design faces up to the change because of consumers' diverse wishes. Hence, to satisfy consumers' needs and the market front now on characterized as the short durability cycle of products, a distinctive design should be developed in the form of products that can be an important factor to attract consumers preference. So, in this study, 1 will try to understand typology based on a categorization theory and the conceptual structure of aesthetics, which are importantly considered at the same time. In addition, I will establish a new design process by extracting Rhythm affecting aesthetic. Ultimately, this study aims develop more consumer preferring design beyond the limit of a designer's idea and design generation by the result of this study.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.17-32
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• 2008

This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.