• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.310-311
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• 2004

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.167-175
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• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.91-98
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• 2018

The purpose of this study is to reveal concrete evidence on how aesthetic preference is applied in product design by countries. Since the 19th century, the proportion has been examined various times, and the conclusions consistently showed the strong preference for the golden ratio (1:1.618). However, previous studies are mainly focused on western products that were designed by western designers, so when the same experiment conducted for the first time in Asia with the question of 'Is the Asian subjects also likes the golden ratio?', the result clearly revealed that Korean subjects have a significant preference for the root ratio (1:1.414) and perfect square (1:1). It demonstrates that proportion preference might be different by countries, and it also influences on everyday products. Moreover, there is not enough evidence of Asian product proportions. For this reason, this study will strive to expand the knowledge on Asian aesthetic preference by focusing on Japanese automobiles that were designed and produced in Japan. 55 iconic Japanese automobiles were analyzed for proportion and compared with 50 iconic German automobiles. The result shows that Japanese automobiles have a shorter length of 7:10 (1:1.414) ratio than German automobiles with 13:23 (1:1.769) ratio. This result proves that there is the difference in preference for the proportion of Japan and Germany, and it has already influenced on automobile proportions. This result has a strong value that finding the most appropriate proportion of automotive design is a major issue in new product development, so this can be adapted to various fields of the design process where strong cultural value exists.

• Korean Journal of Organic Agriculture
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• v.21 no.4
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• pp.501-522
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• 2013

This study has performed comparative analysis on benefit indicators in agricultural irrigation and drainage project cases between Korea and Japan. The irrigation and drainage project with publicity should do economic analysis of direct benefit factors as well as indirect benefit factors. However, traditional economic evaluations are used that benefit factors are lack of consistency and focused on direct benefits. Therefore, the purpose of this study was to develop indicators for the economic evaluation of irrigation and drainage projects. We conducted a case study between Korea and Japan. The resulting benefit factors was divided into direct factors and indirect factors. The direct benefit factors were increase in income, cost savings. The indirect benefit factors were protection of property due to flooding, agricultural promotion, aesthetic improvement. The implications of this study are that the indicators of economic analysis can be evaluated and easily applied. Moreover, these indicators could promote the feasibility of economic analysis.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korea Furniture Society
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• v.29 no.1
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• pp.24-30
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• 2018

George Nakashima (1905-1990) is a second-generation Japanese American who was one of the pioneers of the American Studio Furniture movement. Known for the use of natural timber shape of furniture design, Nakashima's furniture shows the aesthetic characteristics of Japan, which distinguishes it from the furniture of other American studio designers. But Nakashima has been regarded as simply a studio furniture designer, designing furniture that takes its natural form. Therefore, research is needed from a more diverse point of view, and the process of interpreting the cultural backgrounds of a designer becoming a design may be an important subject of study. Thus, this study attempts to interpret the hierarchy of design cultures belonging to a studio designer and to identify cultural characteristics that are not apparent. Therefore, through a process of studying from visible to invisible levels of cultural hierarchy, the study analyzed the aesthetic characteristics of the Nakashima's furniture, his personal experience of Japanese culture, and philosophical background.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1184-1195
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• 1997

The purpose of this paper is to investigate the zen aesthetic tendencies of Japanese contemporary costume, especially designs of Rei Kawakubo and Issey Miyake. Zen is one of the Buddism, which is originated in India, and is the religion and philosophy for salvation. There are many resemblances between Zen and postmodernism. Zen has influenced on the 'non-ornamental' culture in japan, and attaches importance to poverty, moderation as the essentials of the son aesthetics, as it were WabiSabi aesthetics is connected with the art of Tea. In this paper, it was classified zen aesthetics with the beauty of non-dualism, the beauty of poverty, the beauty of purity, the beauty of emptiness and the beauty of deepness, and then applied aesthetic categoties to the costume designs of the Rei Kawakubo and Issey Miyake.

• The Journal of Natural Sciences
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• v.19 no.1
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• pp.113-139
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• 2008

This study for hair, traditional ornamentation and make up style of Korea, China, Japan. Their special aesthetic character of hair ornamentation and styles are similar difference of costume aesthetics. First we study about hair style of three countries We can find their different development characteristics of aesthetics and customes, cultural style of three countries. It is translated plain and simple for Korean, exaggerative and decorative for Chinese, romantic decoravive and decoration of Tang Dynasty influnced for Japanes. All styles are showed in modern oriental styles.