• Archives of design research
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• v.15 no.4
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• pp.347-358
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• 2002

Architectural drawing has been changing from the general notion, in which it is to predict what it may be like for purely practical purpose. Particularly amongst the Deconstructivists' work, graphic elements make a great contribution to the realization of their self expressive style. Whereas these are often chosen for solely aesthetic reasons, there are some cases in which the act of drawing itself is a crucial, investigative process. This is true of Daniel Libeskind's architectural drawing. For him, Typography seems to be characteristic of his drawing. He Harness typographic elements as metaphors for hid abstract symbolism through his architectural drawings, which retain the possibility to relate to the more radical typographic approaches. Within this context, this thesis will argue how the typographic elements in Daniel Libeskind's architectural drawings can be interpreted. What interconnection can be made between the two practices\ulcorner How can these elements be incorporated into architecture\ulcorner Can they be involved in it as a main constituent\ulcorner This thesis explores diverse possibilities of interpretation of his architectural drawing through typological approaches to the cases where type itself meets the different media and signific ation is given to the other typographic elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.5 s.112
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• pp.1-14
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• 2005

This study describes the recognition and the application of materials corresponding to the formative language of landscape design as the formative process of creating connote forms and meanings in a space. The purpose of this study is to propose the significance of materiality not only for conveying the meaning of landscape but also for providing expanded experience through synesthetic perception. The study consists of two parts: (1) The concept of materiality in landscape architecture is studied in three categories, which are divided in chronological order when the recognition of materials was changed. (2) Based on this exploration of the concept of materiality and the ways of expressing it that have developed from landscape arts to landscape architecture, the significance of materiality as the medium of contemporary landscape design is proposed. Breaking from previous technical and engineering approaches to materials and from a vision-centered recognition of materials, this study focuses on aesthetic and semantic aspects of materiality and is based on multidimensional recognition though synesthesia. Materiality has significance not only as the dynamic medium that carries the meaning of landscape by providing connections with the surrounding environmental context, but also as the engagement medium that expands observers' experiences with the environment through synesthesia. The study of materiality as the medium of landscape design would contribute to expanding the scope of the language of landscape design and to expressing the meaning of landscape through materiality being revealed on the basis of converted recognition of materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.844-855
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• 2010

An important issue for the improvement of product quality is to identify and understand the customer-required attributes of a product. This paper identifies and analyzes customer-required attributes of formal knitwear for middle age and elderly women through the use of the Kano model in order to develop competitive products. Various research methods were used in this study. Customer voices for formal knitwear were collected by means of brainstorming and in-depth interviews. The collected customer voices were transformed into customer-required attributes with the use of an affinity diagram. In addition, the data was collected by means of a questionnaire and was statistically analyzed to examine the dimensions of customer-required attributes on the basis of the Kano model. The results are as follows. Five categories of customer-required attributes were identified (symbolism, aesthetic, fitness, usefulness, and maintenance). The analysis based on the Kano model identifies a strong one-dimensional quality in all of the categories of customer-required attributes and the attractive quality that includes a one-dimensional quality in the categories of fitness and usefulness. The findings of this study demonstrate the applicability of the affinity diagram for apparel that educates formal knitwear developers of the customer-required attributes that they should strategically focus on in order to develop competitive products.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.103-117
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• 1993

The purpose of this study is to clarify the adaptation of beauty of traditional dress depicted contemporary Korean fashion design. For this purpose, the external form and the internal meaning based on 'the double roots' proposed by W$\ddot{o}$lfflin were analyzed in Korean traditional dress. Documentary studies and objective studies were done with descriptive and content analytic methods. And homospatial process was devised in order to develop the traditional identity in contemporary fashion design. The results were as follows: 1. As the external form, H. O. A silhouette, chogori, ch'ima, paji, and po concerning internal type, kaftan, flat form related to structured type were represented. Traditional color sense were love of white, contrasting as well as analogous color harmony shown often in nature phenomena, and temperate achromatic color harmony. Texture were characterized as rough and coarse expressing vividness, fine and smooth expressing delicateness and tenderness. As the internal meaning, the beauty of purity related to nature, tragedy, and symbolism were represented. 2. Since 1980's. Korean fashion designers frequently applied unstructural kaftan form and H silhouette to Korean fashion design, and sought natural and pliable line in whole dress. Use of white and achromatic color harmony as well as use of linnen were prominent. Designers' aesthetic consciousness was pursuit of the beauty of nature. Representative designers who concentrated on expressing traditional beauty were Lee Shinwoo, Sul Yoonhyung, Jin Taiok and others. 3. A homospatial process could be a method in the creative design which enables to express Korean identity in fashion design, and could suggest ideas of new designs full of Korean identity by superimposed and fused imaginery.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.1
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• pp.109-121
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• 1985

A study on the image identification of urban streetscape is valuable for illuminating identity that is not yet fully approached in the field of environmental design. This analysis of urban streetscape for image identification allows us to make a more detailed exploration of an important approaching methods in dealing with the structural characteristics of identity. As a matter of fact, the earlier indirect studies on this image identification were made by environmental designers, such as architectural and urban designer in the field of environmental perception and came to its environmental cognition & environmental pattern research with assistances by such researchers as K. Lynch A. Rapoport & Christopher Alexander. Through its environmental perception research, we can see its structural characteristics that is aesthetic & visual structural contents of physical environmental elements. And we can see its cognitive characteristics through the environmental cognitive research, that is continuity, territoriality, identity of place, uniqueness or individuality, meaning & symbolism. Through its environmental pattern research, we can see its physical, socio - economic, cultural and symbolic pattern identification contents, that is physical form of the city, style of the street, pattern of streetscape, socio- economic & geographical locality, arid life cycle, life style, common style of the behavior, cultural pattern of the activity, socio - cultural expression of the symbol. In these process, we can set up a set of the environmental design criterias from those three integral studies for identity. And for an environmental research, Tongsung-Ro around the CBD (central business district) in Taegu City was selected for a case study, because this streetscape is suitable for that approaching methods in this study.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• Architectural research
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• v.21 no.3
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• pp.79-90
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• 2019

The ephemeral and temporal nature of pavilions is the underlying motivation that led to the development of this paper. From the beginning of the industrial era through contemporary history, there have been many instances of architects attempting to rethink architectural design in the context of modern social, cultural, and technical imperatives. Today, the leading changes in humanity are accompanied by a revolutionary electronic digital medium. The pavilion has been in an amalgamation of architectural integration since the beginning of human history. World's Fairs/Expos have, since their establishment, served as international presentations of goods and achievements of particular nations. They became a popular stage wherein potential architectural achievements were showcased through the evocative architecture of pavilions. Due to the pavilion's "temporary nature," its coverage includes various perspectives: social, historical, geographical, post-colonial, iconographical, temporal, and ephemeral. It has also served as a receptacle due to its representational value at a given time. The pavilion has offered architectural designers, clients, and visitors a place to use their imaginations. Moreover, the architect's role in creating pavilions cannot be overestimated. Due to fact that they abound in symbolism, contemporary designs, and innovative solutions, pavilions often mirror modern mankind and plan for the next aesthetic revolutions and ideological architectural theories. To understand and appreciate architects' original intentions with their pavilions, this paper focuses on noteworthy pavilions that were created from the beginning of industrialization through the present. It explores and discusses the pavilion's characteristics, highlights the significance of its physical form as generated by a specific theme.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.115-125
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• 2020

Rider jackets were once reserved for military uniforms but have become an important styling item in recent fashion trends. The design characteristics of the rider jacket are rooted in symbolism, and the image associated with a rider jacket is in line with the challenging of authority and being a member of the rebellious youth subculture. Usually, young people with anti-social tendencies wore jackets, and some styles were used as a medium to express their emotional homogeneity, and they received favorable responses as the items represented them. The design characteristics of a rider jacket can be largely divided into resistance against the older generation, violence, challenging cultural norms, sexuality, and resistance, as well as embodying violent characteristics, including strength, courage. and male chauvinism. The reason for the development of these challenging characteristics are disparagement and anger of the lower class, who were excluded from mainstream society. Rider jackets can be viewed negatively due to the kind of message it is conveying against mainstream society. Among the sexual features were leather pants, short-length leather rider jackets, glossy metal accessories, and belt buckles, which also highlighted gay and decadent images that came to be associated with the jackets. The drapery created various kinds of wrinkles according to the way of dressing, and it had beautiful expressiveness while serving to express the body more beautifully. Drapery can be classified according to the aesthetic characteristics or expression techniques, and if the type of drapery is classified according to the morphological characteristics, it can be classified into variable and fixed structures, depending on whether the part to which the drapery is applied is fluid or not. In other words, it depends on the dressing method or the intention, and if the drapery technique is directly applied to the garment or is attached to the form. This fashion design proposal may have the greatest significance in that it sought to propose a new style incorporating a drapery technique with a strong feminine image to a rider jacket, which traditionally was associated with a masculine image.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.104-117
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• 2017

This study compares the results of landscape image analysis using text mining techniques and factor analysis for Lotte World Tower, which is the first atypical skyscraper building in Korea, and identifies landscape images of the site to determine possibilities of use. Lotte World Tower's landscape image has been extracted from text mining analysis focusing on adjectives such as 'new', 'transformational', 'unusual', 'novelty', 'impressive', and 'unique', and phrases such as in the process of change, people's active elements(caliber, outing, project, night view), media(newspaper, blog), and climate(weather, season). As a result of the factor analysis, factors affecting the landscape image of Lotte World Tower were symbolic, aesthetic, and formative. Identification, which is a morphological feature, has characteristics of scale and visibility but it is not statistically significant in preference. Rather, the psychological factors such as the symbolism with characteristics such as poison and specialty, harmony with the characteristics of the surrounding environment, and beautiful aesthetic characteristics were an influence on the landscape image. The common results of the two research methods show that psychological characteristics such as factors that can represent and represent the city affect the landscape image more greatly than the morphological and physical characteristics such as location and location of the building. In addition, the text mining technique can identify nouns and adjectives corresponding to the images that people see and feel, and confirms the relationship between the derived keywords, so that it can focus the process of forming the landscape image and further the image of the city. It would appear to be a suitable method to complement the limitation of landscape research. This study is meaningful in that it confirms the possibility that big data can be utilized in landscape analysis, which is one research field of landscape architecture, and is significant for understanding the information of a big data base and contribute to enlarging the landscape research area.