• 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.13 no.1
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• pp.7-18
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• 2000

Study of Costume Design Applied The Formativity of Korean Traditional Cloth Wrappers Costume has been coexistion with man ever sine human history began, and in modem society its role in man's living, culture and art has become so great that It is now an object most refreshing and of extensive concern to man. This study, based on the expressive quality and purity of Korean traditional cloth wrappers which have the formativity continuously pursueing new visual inspirations, is to seek new expressional diversities and rediscover our traditional beauty and at the same time to present possibilities of reflecting more unique, new spirit of the times inherent in our culture and of creating certain formative world of design value. In studying, literary reference as atheoretical background, analysis of the formative characteristics of traditional cloth wrappers through corrobcrative data preserved as a cultural asset at museums, and actual making of eight works in total based on the results of analysis have been paralled.

• Archives of design research
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• v.14 no.1
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• pp.119-134
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• 2001

It can be said that Italian designs are unrestrained, aesthetic and art for arts sake, and they come to stylize their character based on geographical features, racial traits and culture. The Italian architects work for the reconstruction of their devastated country and spare no pains to produce competitive goods on international markets since the second wend war. In spite of a inherent scarcity of resources, Italian furniture is the product of mixture of aesthetic material and new material with creative gifts. A lot of companies succeed in finding and training capable designers and devote themselves to modem furniture industry. As a result, Italy becomes one of the worlds most eminent furniture industrial countries now. And the fame is owed to Italy's national awareness of the importance of the matter and endeavor without sparing systematic support. This research is to find out which factors have an influence on the progress of furniture design in Italy and to analyze how these factors build up formative arts combining with historical background in Italy. Moreover, this research suggests how to make contributions to the cause of furniture design growth when considering our geographical features, racial characteristics, culture and industrial circumstances, by analyzing the process of development and strategy in Italian design industry.

• Archives of design research
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• v.13 no.1
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• pp.237-245
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• 2000

The designer get through a doorstep of ideation to obtain a design concept, which consequently achieves the successful design. However, the ideation with creativeness may not always be given as much as an effort is made. It is readily recognized as the ideation released is naturally limited to a resonable and logical frame structure. Conversely, the successful ideation can be obtained through illogical thought given in a while. The thinking method suggested in effect preview can thus satisfy the demand of lateral thinking, which can lead to the creativeness as a thinking model as well as amenably advertising concept in a final step of advertising plan. Finally, it is concluded that from the brain function theory, the unique role of each side of brain can not practically influence on an art work performance successfully achieved.

• Archives of Plastic Surgery
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• v.35 no.4
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• pp.471-479
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• 2008

Purpose: Sunken eyelid is a deformity of upper eyelid due to atrophy of periocular fat tissue, loss of skin elasticity. It causes the skin retraction of eyelid and unfavorable fold. Sunken eyelid occurs from the results of natural aging process, facial trauma, complication of previous periocular surgery, etc. We acquired a satisfied correction of sunken eyelid and unfavorable fold using autologous fat injection only. The aim of this study is a assessment of autologous fat injection for correction of sunken eyelid accompanied with unfavorable fold. Methods: From August 2002 to March 2006, we performed 37 cases of correction of sunken eyelid with unfavorable fold using autologous fat injection. They were all females with ages ranged from 23 to 63. Fat was harvested from lower abdomen and centrifuged with Coleman system. Multi-layered injection of purified fat was done from orbital fat layer to orbicularis oculi muscle. Results: Overall, improvement of sunken eye and unfavorable fold was observed in the majority of the patients. Discomfort of eye opening was improved in 24 patients. The average injection volume was 1.33 mL in right eyelid, 1.31 mL in left eyelid at first injection. Second injection was done in patients who absorption of injected fat was noted with. No specific complications were observed. Conclusion: Natural and attractive upper eyelid was acquired from fat injection only in sunken eyelid with unfavorable fold. To the authors' knowledge, it is desirable for sunken eyelid accompanied with unfavorable fold to be treated with autologous fat injection at first. Although some shortcomings are substantial, autologous fat injection is easy and effective method for correction of unfavorable fold in sunken eyelid without specific complication.

• Archives of Plastic Surgery
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• v.35 no.4
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• pp.379-384
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• 2008

Purpose: Currently, using perforator artery flaps especially anterolateral thigh flaps are widely used for reconstruction of extremities, head and neck. Obtaining a precise anatomical picture prior to operation will translate to a more accurate, efficient and safe procedure. Authors used 3D-image work up via 64-slice MDCT to make a more precise preoperative plan. Methods: A total of 10 patients underwent soft tissue reconstruction with anterolateral thigh flap from December 2006 to December 2007. The 64-Channel MDCT (LightSpeed VCT, GE, USA) was used and 3D images were reconstructed. Findings from MDCT were applied to the preoperative planning and confirmed with intraoperative findings. Results: The average number of perforator arteries from lateral circumflex femoral artery was 2. The average lengths of vascular pedicle from the origin of lateral circumflex femoral artery to the first and second perforator artery were 11.0 cm and 20.0 cm, respectively. The average diameter of the pedicle artery was 2.2 mm. The locations of the perforator arteries were mapped and localized on the body surface based on the MDCT result. These were confirmed through direct visualization intraoperatively. Conclusion: MDCT has an advantage of obtaining accurate images of the general anatomy and even fine structures like perforator arteries. By using this state-of-the-art diagnostic imaging technique, it is now possible to make an operative plan safely and easily.

• Archives of design research
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• v.15 no.1
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• pp.49-58
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• 2002

Advances in computer technology have made it possible for educators to design and develop their own multimedia instructional materials using visuals such as animation. Although, it generally believed that the Mew attribute of computer animation facilitates student's foaming, there is still relatively little research regarding the way in which student benefit from multimedia instruction using 3-D animation. The purpose of this research was to examine and determine whether the use of 3-D computer generated images is an effective teaching device for hoping children to understand color theory, and enhancing the tractional methods. In this study, a 3-D computer generated presentation was creative and it demonstrated the mixing of primary color to obtain secondary color. Three research hypotheses were developed in this research. The first hypothesis stated that 3-D computer generated presentation will be an effective device for teaching color theory. The second was that the presentation will be eye-catching and it will hold the children's attention. The third was presentation would enhance the children's memory of color. Results of this study show that visualization technology and the use of 3-D graphics ends can be employed in the field of art education to increases a chi1d's understanding of color theory. Also, it was proved that teaching children through 3-D graphic is an highly effective teaching tool. Thus this research is a oontribution to both children's au education and the relatively new field of computer animation.

• Archives of design research
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• v.11 no.1
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• pp.259-268
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• 1998

Ideals of beauty has expressed variously through the centuries and in different cultures. Each traditional 'togu' has it's own morphology (in the meaning of nonverval linguistic) as using various type of language in each cultural erea. Korean aesthetics on 'dogu'philosophy introduces a whole new set of basic concepts outside western aesthetic framework of beauty Most distinctive is the insistence on overcoming dichotomies, especially between cognition and emotion, (momism)body and mind, self and other, and individual and group. Several topics are particularly illuminating within aesthetics: furniture, calligraphy, traditional garments pose interesting challenging to the art/nature, inside/outside, ethics/desire dichotomies so crucial to moral and cultural context. aesthetics are equally deserving of philosophical scrutiny: the ways in which philosophy of 'dogu'and aesthetics are integrated with daily life, the emphasis on process or understanding context rather than product itself or product 'form'. Dogu did not separate daily life and aesthetics from understanding social context. Language of 'togu' also has own vocabulary and grammar. But we often cannot gain our persnol experience truthful beauty of togu until understand context of understanding. it would be immpossible to explain ,or to analize different way of thinkings and behaivor precisly without understanding same codes of language.

• 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.

• Archives of design research
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• v.15 no.3
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• pp.181-190
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• 2002

Rhetoric, simply defined, is the art of persuasion. Gui Bonsiepe, Robin Kinross, Hanno, Ehses and Richard Buchanan have all spoken of rhetoric as an element of the theory of design. St. Joost Academy in the Netherlands has tried to present the theory and practice of a new kind of designing based on rhetoric since 1995. Post-St Joost was the name of the experimental graduate programme. They adopted visual rhetoric as a matrix for setting up a new type of exercise and assignment in design education. In this paper, 1 have tried to show that rhetorical approach can play an important role in the development of a view of design as a discipline in its own right. The first chapter looks at the brief history of rhetoric in western culture. And the following chapter focuses on the development of design rhetoric and visual rhetoric in the twentieth century. 1 hope this essay will contribute to find the designerly way of knowing, thinking and doing.