• 한국실내디자인학회논문집
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• 제20호
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• pp.33-39
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• 1999

Nowadays minimalism has influence on Korean Architecture and Interior Architecture at the turning of new generatiov. Minimalism is a plural phenomenon that has developed from Modernism to Contemporary but there is the tendency to define minimalism within Architecture and Art. Also it is a fact that there are many disordered minimal aspects in Architecture. This study is started from accurate understanding the mistakes in the field of Interior Architecture, that are brought by the elapse of time, and analogizing the circumstances of Interior Architecture in the field of Architecture. Especially the purpose of this study is to grasp the relation between the minimal characteristics of Korean traditional Architecture and the stagnancy of Korean Architecture. Under the assumption that the characteristics of minimalism exist in Korean tradition, this study contents the characteristics of minimalism in western modernism to analyze the contemporary Korean Architecture and interior Architecture that the assumption is appled to.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.52-59
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• 2006

The study is intended to clarify the ideologies and principles applied to the formative expression of church architecture which is contained both the God and human. Iconography as the relation between described target and the meaning as meaning analysis especially emphasized since the religious reason in religious art. Iconography is the area of discussing rules and habits and involved in the pieces of transition from the piece of experience obtained by sensing to the one of the ethical structure. N. L. Prak who apply meaning theory of E. Panofsky who distinguish between iconography and iconology clear relation of mental foundation which characteristics of shape of art and its concretion in architecture categorized the shape of meaning in three steps. Among them, conscious symbol and unconscious symbol correspond to iconography and iconology of Panofsky respectively. The symbol is mainly showed in religious architecture and is not related to simple practical architecture. Such symbol system can be important discussion objects in modern church architecture and necessary expressional system for expressional characteristics.

• 한국실내디자인학회논문집
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• 제16권3호
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• pp.10-20
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• 2007

The materials on the development of modern architecture in Korea are being collected and organized in a systemic fashion. However, this is not the case with the materials relative to interior design. They are gradually disappearing or being lost. In particular, no serious attempt has yet been made to determine the characteristics and historic value of the interior design of the modern bank buildings. The purpose of this study is to trace the disappearing legacy of the interior design of modern bank buildings by learning the inner space arrangements of these buildings and the characteristics of modern interior design in order to determine the historic significance of modern commercial interior design. Banks of relatively large scale were selected for the purpose of this study. They consisted of: Chosun Bank(1911) and its Andong, Wonsan and Cheongjin branches; Chosun Shiksan Banks and its Busan, Daegu and Pyongyang branches; the Busan branch of the 18 Bank; Dongil Bank, Chosun Savings Bank(1935) and their branches. The study focused on the space arrangements and design characteristics of these banks. Although they aimed at modernization in designingtheir interior spaces, the modern bank buildings were not representative of any particular style of interior design. While western style designs were prevalent, eclectic designs incorporating many different styles existed. The characteristics of the interior design of banks of the time included installation of such decorations and use of high quality construction materials for interior and exterior expressing the wealth as to create an aura of credibility for the banks, while the floor arrangements were relatively stereotyped and simplified.

• 디자인학연구
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• 제19권2호
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• pp.229-240
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• 2006

정보전달 환경의 변화에 따라 정보에 흥미를 분가하여 효율성을 높이는 것이 디자인에서 중요하게 대두되었다. 인포테인먼트는 다양한 표현방법과 미디어기술을 기반으로 정보 콘텐츠를 디자인할 때 오락적 흥미요소를 정보에 결합하는 개념으로 활용되고 있다. 정보자체만을 사실적으로 전달하는 정보형 메시지에 비해 오락적 흥미가 부가되어 사용자 관심을 유도하는 정보는 설득형 메시지의 정보이다. 인포테인먼트의 메시지가 설득적이라는 것은 정보의 이해과정에서 감각적 자극이나 인지적 재미, 상황적 흥미를 통해 사용자가 정보에 몰입하게 하는 것이다. 감각적 자극은 정보디자인의 표현요소와 미디어의 기능에 의해 발생하는 것이고, 인지적 재미는 정보 콘텐츠의 구조화에서 비예측성, 부조화 상태를 통한 잉여적 표현으로 수용자가 심리적 정체를 경험한 후 이를 해소하려는 지적인 활동에서 나타난다. 상황적 흥미는 사용자가 갖는 최적의 경험으로 쾌(快)에 의한 플로우 상태에서 나타난다. 따라서 인포테인먼트의 속성은 감각적 자극, 잉여성, 쾌로 정의될 수 있으며, 디자인 요인은 물리적 요인, 구조적 요인, 심리적 요인으로 구분해 볼 수 있다. 감각적 자극을 위한 물리적 요인은 비주얼 아날로지나 비주얼 펀의 개념으로 시각적 조작을 통한 흥미요소 표현과, 멀티미디어와 동적요소의 적용으로 가능하다. 잉여성표현에 의한 구조적 요인은 스토리텔링이나 이벤트, 인터랙션의 활용으로 정보이해과정에서 상상력을 발휘케 하는 것이다. 심리적 요인은 사용자에게 심리적 만족을 주는 것으로 유머나 놀이, 게임과 같은 오락적 흥미를 통해 플로우 상태를 경험하는 것이다. 결국 인포테인먼트는 그 속성에 부합될 수 있는 디자인 요인들이 복합적으로 연계될 때와, 전달하려는 정보의 특성과 목적에 잘 맞을 때 적용될 수 있는 개념이다.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.11-21
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• 2007

In this study, we will analyze the artistic character of Jogakbo as a element of fashion art design. Korean traditional Jogakbo is a common homemade item made from clothing remnants and is a part of the culture of women�s quarters. Currently, Jogakbo is higly regarded for its artistic value and it finds a variety of uses in fashion. In particular, it is striking how its modern-style geometric lines and color composition are congruous with abstract art. In applying Jogakbo to fashion art design, we study the artistic expression of Jogakbo in 4 aspects; namely, line, color, material, and technique; and analyze the 4 artistic characteristics; beauty of naivety, simplicity, moderation and freedom. 8 dresses designed based on these 4 characteristics are presented as examples.

• 복식
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• 제61권8호
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• pp.85-99
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• 2011

Geometrical figures have been used as artwork motifs from the ancient times to the present day. The area of fashion, being a part of modern art, is also largely influenced by geometry and geometrical shapes are being used as a motif for fashion design now more than ever before. However, studies about geometry in the fashion field are not yet done enough and further research is necessary. This research will therefore investigate the usages of round, square and triangular design in contemporary fashion. The main scope of this research is to look at the type of expression and analyze the intrinsic meanings of these shapes in modern fashion. This research will look profoundly into the general characteristics of these geometrical figures and analyze the effects and uniqueness found in the world collection introduced since 2007. As a result from this study, it was found that round and square objects were perceived in such a straightforward and positive way and these designs, when worn, really completed the final look. On the other hand, the triangular design was used mainly for spatial expansion and was interpreted in a more metaphorical, indirect and abstract way. The intrinsic meaning of round, square and triangle figures in contemporary fashion consists of the informal features that really steps out of the formative clothing structure. The topological changes that is formed from the interactive functions and the wholism that creates a new system through integration of the human body and clothing contains the intrinsic meaning of these geometrical figures. Based on the research results, the method of expression and the characteristics of modern day fashion's geometrical figures was able to be easily understood. This work provides the useful information on the development of fashion design and the extended interpretation of clothing structure.

• 한국엔터테인먼트산업학회논문지
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• 제13권5호
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• pp.111-117
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• 2019

분석하여 화장품 포장 디자인에 사용된 컬래버레이션 사례를 연구, 특히 쿠션화장품 중 캐릭터 이미지와 컬래버레이션 하여 화장품 디자인에 사용된 사례를 분석하였다. 화장품 디자인 컬래버레이션 연구를 통해 제품 가치와 브랜드 이미지를 제고시키고, 소비자에게 새롭고 개성 있는 제품을 제공하여 젊은층 소비자 그룹을 타겟팅, 유치하는 데 목적이 있다. 이 연구는 향후 화장품 포장 디자인을 하는데 참고할 만한 내용을 제공하리라 기대한다.

• 한국의상디자인학회지
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• 제25권1호
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• pp.153-168
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• 2023

Non-representation creates difference and change that can be used as a creative design method that satisfies contradictory requirements for similarity and differentiation. This study drew upon the characteristics of the concept of non-representation expressed in contemporary art and architecture, in which Gilles Deleuze's philosophical thinking was reflected, and analyzed the non-representation depicted in contemporary fashion. The non-representation expressed in contemporary art and architecture is as follows. Non-representation of delaying becoming focuses on reverting to preexisting objects and redefining traditional meaning, thereby delaying the representation of latent meaning. Non-representation of non-becoming removes existing values and typical forms and expresses amorphousness. Non-representation of becoming by repetition or reiteration realizes the difference caused by the passage of time by repeating or overlapping shapes. Non-representation of becoming expresses the transformation of space by flowing through time rather than by actual movement. Non-representation in contemporary fashion shows the following expression characteristics. First, the non-representation of deferring becoming deconstructs the traditional values and forms of clothing and expresses designs by displacement or juxtaposition. Second, the non-representation of non-becoming is expressed concepts unrelated to the body and focus upon amorphous objects that do not become concretized forms. Third, generative non-representation by repetition and overlap expresses the possibility of change by overlapping clothing items or details expressed by repeating segmented objects. Fourth, generative non-representation by movement reproduces the meaning of space and time by moving the shape of the clothing or visually changing the surface of the material of clothing. As a result of the study, the non-representation shown in contemporary fashion aims for versatility to conform to social changes. This study provides new insight into the fashion design method by increasing the understanding of the cocnept of non-representation and showing its potential.

• 패션비즈니스
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• 제27권6호
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• pp.124-146
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• 2023

This study analyzes the characteristics of each element of neo-deconstructivist fashion design and examines fashion expression methods and techniques. This study combines theoretical research and case analysis to analyze the aesthetic characteristics of neo-deconstructivist fashion and the expressive characteristics of neo-deconstructivist fashion. Through analysis of previous research, the aesthetic characteristics of neo-deconstructivism were derived as inclusiveness, playfulness, communication, and intertextuality. Inclusivity in fashion refers to including various people, body types, aesthetics, and cultural backgrounds in the scope of design, and does not limit the scope of clothing design based on individual differences such as body type or gender. Playfulness is a neo-deconstructive fashion brand that combines exaggerated makeup, vibrant colors, intriguing designs, and imaginative fashion shows to spread upbeat and playful ideas. Communication in neo-deconstructivist fashion demonstrates communication through the use of creative themes and items that reflect consumers' needs through design and the consumer's fashion presentation method. Through the mutual quotation of aspects like traits, status, T.P.O., and materials that can reveal opposing texts, intertextuality emerged as a tendency to break up binary oppositions or break away from genres. The expressive qualities of neo-deconstructivist fashion design were examined and applied to the creation of innovative fashion design through examination of the case's silhouette, color, and material. Six sets of women's clothing were designed and produced. The results of this study can be used as basic data for the development of neo-deconstructivist fashion design, and are expected to provide a wide range of inspiration for fashion design ideas.

• 한국조경학회지
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• 제37권5호
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• pp.64-77
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• 2009

조경에서는 문화와 철학의 차이에서 오는 다원적인 표현을 추구하고, 조경가는 그 시대의 문화를 반영한 독특한 환경을 제공함으로써 동시대의 세대에게 사회적 목적과 공간적 관계에 대한 감각을 전해준다. 특히 조경가는 설계작품을 통해 그 시대의 예술을 반영하게 되며, 당대의 예술 특성을 현실공간에 투영하게 된다. 역사적으로 조경가들은 모든 형태의 예술행위에서 많은 모티브(motive)를 찾아 왔으며, 특히 회화는 형태 구성에 직접적인 영향을 주어 조형개념의 근간을 이루기도 하였다. 조경에서의 미니멀리즘(Minimalism)은 모더니즘 시대를 통해 상실되었던 미적 대상으로서의 경관과 경관에서의 예술성 향상 그리고 동시대예술의 구현이라는 조경에서의 예술참여적 성격 표방에 상당한 기여를 하였다. 따라서 본 연구는 미술의 미니멀리즘 조형개념이 조경설계의 조형개념에 미친 영향을 설계 작품의 해석적 연구를 통해 미니멀리즘의 수용과 재현 양상을 밝혔으며, 조형개념 특성을 다음과 같이 요약할 수 있다. 첫째, 미니멀리즘 조경의 환원성(reduction)은 원 삼각형 사각형과 같은 단순기하학의 함축된 형태언어를 사용하여 이용자가 즉각적으로 작품의 정체성을 파악하고, 작품의도를 용이하게 파악하도록 하였다. 둘째, 확장성은 선적 요소의 채택으로 개별 요소 상호간을 연결하는 내적 질서와 시각적 방향성을 위한 외연적 활로를 찾고 있다. 셋째, 평면성은 주변 환경과의 차별화를 통하여 무의미한 공간을 정의하고, 경관 연속체로서 지각을 유발하고자 평탄하게 조성된 부지에 부가 요소를 중첩시키거나 시각 이미지를 위해 포장을 패턴화하는 경향을 가진다. 넷째, 연속성은 공간의 중심성을 확보하고 개별공간의 독자성보다 부지의 전체성을 추구하여 조형요소의 반복적 구성과 소재의 반복을 통한 구성 등의 특성을 가진다.