• 한국주거학회:학술대회논문집
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• 한국주거학회 2006년도 추계학술발표대회 논문집
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• pp.412-415
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• 2006

The purpose of the study is to analyze systematically the characteristics of the American Housing according to the trend of American Housing Market recently. The study analyzes the transition of the Housing design since 1950's and the trend of American Housing Market through the characteristics of the social change hereafter. Above all, the study finds out the space design characteristics of the American houses due to the trend of American housing design.

• 디자인학연구
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• 제14권4호
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• pp.147-155
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• 2001

본 연구의 목적은 20세기 미국 그래픽 디자인에 대한 역사적인 고찰을 통해 미국이 유럽의 디자인 전통을 발전적으로 계승하는 한편, 자신들만의 독자적인 자기 정체성을 확립해 가는 과정을 살펴보고 그 현재적 의미를 파악하는 것이다. 제1장에서는 20세기 미국 그래픽 디자인의 발전과정을 초반·중반·후반으로 나누어 각 시기별 특징을 살펴보았고, 제2장에서는 정체성 문제를 고민한 미국 그래픽 디자이너들의 사례를 통해 그들의 문제의식과 해결방식들을 살펴보았다. 20세기 미국 그래픽 디자인은 자국의 사회, 문화적 특수성을 반영한 독자적인 디자인 전통을 만들어가려는 노력을 통해 발전해왔다. 이 과정에서 주목할 만한 것은 미국의 디자이너들이 디자인 문제를 단지 예술이나 조형, 혹은 미학적인 차원에서만 접근하지 않고 마케팅과 테크놀러지의 중요성을 일찍이 간파한 점이다. 이를 바탕으로 미국 디자이너들은 디자인 비즈니스를 활성화하고 새로운 디자인 매체를 적극 개발함으로써 그래픽 디자인의 개념을 확장시키는데 큰 역할을 했다

• 한국가구학회지
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• 제18권4호
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• pp.324-336
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• 2007

Throughout the twentieth century, American furniture was subject to a number of influences-both domestic and foreign. Especially, in the first half of the twentieth century, there were strong foreign influences compare to the later half of the century. Therefore, this study aimed for discussing foreign influences and for addressing issues such as attitudes toward materials, ornamentation, and technology. As a result, this study suggests how American furniture becomes instinctive moving away from strong foreign influences from the second half of the century. The twentieth century was a period of rapid and dynamic change for American furniture design. In many ways, the designs throughout the century were reflective of the social, political, and economic culture of the time. With the birth of the modern movement in Europe and a strong influx of foreign immigrants, American design in the first half of the century was characterized by a reliance on European and foreign influences. However, after the two world wars, strong domestic influences came into play. The two world wars provided the essential catalysts for change: new materials, developing technology, and changes in life style and consumer values. A historical examination of design trends and individual designers illustrates how American furniture design evolved during this period.

• 복식
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• 제60권9호
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• pp.106-119
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• 2010

The purpose of this study is to examine American students' perceptions of contemporary fashion design that incorporates Korean traditional costume. The findings, which are based on a survey of American students' aesthetic response to the fashion designs, are as follows. First, the impressions of American students about the fashion designs were affected by two major factors, Tradition and Trend. The Tradition factor was related to the impressions traditional, formal, elegant, classic, romantic, gorgeous, and natural, but was correlated negatively to the impressions dynamic, modern, and casual. The Trend factor was related to the impressions chic, trendy, and clear but not dandy. Designs with elongated shape had a positive score for the Tradition factor and designs with curvy line had a positive score for the Trend factor. Second, American students gave visual priority to the aspects of shape such as garment type and silhouette when they evaluated the designs. Color was less important than the aspect of shape in their fashion image perception. Therefore, they categorized the designs by similarity of garment types, and then sub-categorized them by color. The meaning of Korean traditional motifs or details was not significant to American students. Third, American students showed the tendency that the more they evaluated the designs to be gorgeous or trendy, the more they liked the designs. Furthermore, they liked the designs which have a positive score for the Trend factor.

• 패션비즈니스
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• 제24권5호
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• pp.106-124
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• 2020

The purpose of this study was to analyze the three-dimensional (3D) characteristics and reproducibility of the effective expression of North American smocking pleats in the process of making clothes using a 3D virtual clothing system (CLO) and present a method of expression according to the types of North American smocking. In this study, lattice, lozenge, and flower smocking were produced as real smocking and 3D virtual content, and actual muslin properties were measured using a Fabric Kit and reflected using an emulator. The results of this study confirmed that a dense puckered design such as North American smocking could be expressed depending upon the internal line, fold angle, and reinforcement setting for 3D smocking. To partially apply pleats to flat fabrics, it was necessary to set fold lines. The fold line setting could be expressed by designing the internal line in horizontal, vertical, and diagonal directions according to the North American smocking design, and then setting the fold angle for each internal line. By setting fold angles of 0 degrees and 360 degrees according to the folding direction of the set internal line, the fabric was clearly folded and stable pleats were created. This study will contribute to the vitalization of the 3D virtual fashion content industry by analyzing and presenting the optimal expression method of sophisticated and complex pleats generated according to the North American smocking design pattern.

• 한국가구학회지
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• 제12권1호
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• pp.91-101
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• 2001

This study explored the trend of postwar period American furniture design and analyzes the contexts of the trend. To be more specific, this study categorized the types of the styles or "looks" of furniture which were dominant in postwar period America: the machine look ; the handicraft look ; the biomorphic look. The background and the context for each look were traced back and analyzed both diachronically and synchronically. Based on the analysis, this study provided two conclusions. First, postwar period American furniture design is in many ways indebted to the World War II, because the war itself and postwar economic revival produced high demands for furniture, which consequently produced a variety of looks of furniture. Second, the furniture design in this period is attributed to commercialism and consumer-oriented design policy formulated in the mid 1920′s when American design established its own identity separating from European avant-gardism.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 1998년도 제6회 1998 봄 학술연구발표대회 개요 집 디자인 학 연구
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• pp.1-2
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• 1998

• 한국가구학회지
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• 제24권1호
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• pp.1-14
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• 2013

Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture embellished with traditional hand-craft, Art furniture featured the individualistic avant-guard characteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.11-19
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• 2005

As the world becomes more globalized thanks to the fast development of the Internet, a national identity becomes more important than ever before. Based on this, the study searches for the identity of modern American architecture through exploring the influence of modem American fine arts on the contemporary architecture. It was found that the concepts and the attributes of modern American fine arts obviously transferred into the contemporary architecture. The main concept was elimination of any kind of illusion for maximization of reality, and it was rooted Into American culture, the way of life and thinking. With the concept, the attributes were divided into two extreme poles: materiality and morphology: the former was evolved from Abstract Expressionism and Post-Minimalism and transferred into Los Angeles Avant-Garde architecture; the latter was from Pop Art and transferred into Postmodern architecture and Pop Architecture.

• 디자인학연구
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• 제13권2호
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• pp.87-94
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• 2000

미국에 있어 산업디자인은 조형운동을 통한 사회문화 적 개혁도 아니었고, 정연한 미래지향적 인공세계의 설계도 아니었다. 디자인은 기계와 도구를 대중에게 친숙한 모습으로 다듬고 한편으로는 제품 안에 담긴 기술적 혁신의 내용을 미래지향적 이미지로 표현하는 수단이었으며, 궁극적으로는 판매증진에 이바지하는 것이었다. 19세기부터 확립된 부품호환과 표준화는 20세기 초 자동화에 기초한 소비제품의 대량생산 시스템에 디자인이 더해지면서 잠재시장의 규모는 극적으로 성장하는 모습이었다. 헨리 포드가 먼저 자동화 일관 생산으로 대량생산과 소비의 길을 열었다면, 알프레드 슬론(A. Sloan)은 미국 자동차 산업에 스타일링의 규범을 세웠다고 할 수 있다. 미국의 스타일리스트들은 20년대 이후 여러 대기업에 고용되어 대중들의 선망의 대상인 꿈의 기기(dream machines)들을 창조해냈다. 미국의 디자인은 이와 같은 사회적, 산업적 특성을 기반으로 성장 발전하였다.