• 한국의상디자인학회지
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• 제15권1호
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• pp.91-109
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• 2013

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.

• 교육시설 논문지
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• 제21권4호
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• pp.31-40
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• 2014

The modern day architectural giant, Maki Fumihiko, has lived through both the early and the more recent modernism, Contemporary. In the 1950's he was faithful to the spirit that was founded on the early modernity, Metabolism. In his later years in the 2000's, his style can be distinguished into Neo-Modernism which was based on local influence. The educational system at Washington University and the modern city of Saint Louis carries the continuation of Fumihiko Maki's early and later architectural career. Steinberg Hall and Kemper Art Museum have been built adjacent to each other in an extended period of time. These two projects encompass the changes in the era that has gone through modernism, transformation of an architect's career, and the maturation of the university. Steinberg Hall carries the ideal and the spirit of young Fumihiko Maki, therefore, the basic platform of experimentation of the early Metabolist has been applied. Spatial theory that concentrates on the integration of relations is also evident in this project. In contrast, Kemper Art Museum expresses the work of a 78 year-old veteran from the perspective of Neo-Modernism. This piece focuses on the internal space through the coexistence of a variety of space, and with that it notably interprets the integration of the pieces to the whole as a set theory. The partial change that we see is the evidence of the change in the early and the later modernism, while maintaining the innocence and the spirit of it. This is to highlight the fact that, ultimately, the goal of architecture is to secure the human race's honesty and their freedom expressed through space.

• 동양고전연구
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• 제73호
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• pp.219-248
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• 2018

이 글은 "논어"에 나타난 공자의 궁극자(천(天))에 대한 다산 정약용의 주석을 고주("논어주소") 및 신주("논어집주")와 연관하여 대비적으로 고찰함으로써 그 특징을 제시하는 데에 목적을 두고 있다. 이를 위해 우선 공자 이전(하(夏)-은(殷)-주(周)시대)의 천(天)과 상제(上帝)개념의 변형양상을 정리하는 것으로 시작하였다. 여기서는 원래 소박한 자연주의로 시작한 고대의 천(天)개념은 은대에 정복민족의 조상신(祖上神)인 상제(上帝)개념으로 대치되었으며, 그 후 상제개념은 주대(周代)의 천명(天命)사상과 함께 보편적인 천(天)개념으로 전변해 갔다는 것을 제시하였다. 다음으로 우리는 "논어"에서 공자의 천(天)개념이 진술된 모든 구절에 대한 고주, 주자주, 그리고 다산의 주석을 순서적으로 제시하면서 상호 대비 해설하였다. 그리고 이러한 제시와 대비를 통해 각 주석이 제시한 천(天)개념의 특징을 요약 정리하면서 그 특징을 요약하였다. 그 결과 고주는 공자의 천(天)개념을 주로 운명천(運命天), 주재(主宰)-재행천(載行天) 그리고 의리천(義理天) 등의 개념으로 해석하였다. 그리고 주자는 공자의 천(天)개념이 제시된 거의 모든 구절을 성리학적인 리(理)개념으로 치환하여 해석(천즉리(天卽理))하고 있음을 살폈다. 마지막으로 다산은 천을 상제라고 말하면서(천위상제(天謂上帝)), 주자의 천즉리(天卽理)를 비판하고 있는 맥락과 이유를 살폈다.

• Journal of Forest and Environmental Science
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• 제38권1호
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• pp.1-11
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• 2022

The Dutch colonial government introduced social forestry at the end of the 19th century with a commitment to controlling forest resources in the Dutch East Indies. This program was a response to the rampant deforestation which had resulted in forest degradation and poverty of the population around the forest. This study examined the practice of social forestry in the late colonial period which had not been done much. From a historical perspective, social forestry practices in Indonesia before independence could be explained more comprehensively. This study uses a historical method which includes four stages: heuristic, source criticism, interpretation, and historiography (composing historical stories). Sources of information were explored through studies of archival documents and contemporary artefacts, especially official colonial government reports and contemporary newspapers/magazines. Data from various sources are then compared and tested for validity to obtain data validity. The next stage is to build facts based on data obtained and then interpreted using the social science theories. Finally, compiling a historical (historiographical) story about social forestry during the late colonial period. The results showed that colonial forestry during the colonial period was still limited in terms of area and method, namely in the area of teak forest and involving villagers through the intercropping system. Farmers involved in these activities are called pesanggem who earn income from forest land being rejuvenated. However, the relationship between pesanggem and the forestry service has not been well institutionalized, consequently the pesanggem is often disadvantaged. Including certainty of ownership and ownership of forest land never gained clarity and even became a source of conflict.

• 미술이론과 현장
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• 제1호
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• 건축역사연구
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• 제5권1호
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• pp.9-17
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• 1996

A few archeological excavation of Buddhist temple sites of Koguryo were reported with information of site arrangement. The interpretation of such information is very important not only for the explanation of Korea early Buddhist architecture but also for the development of East Asian cases in general since no archeological evidences of the same period were found in other countries such as China. Though the investigation of the four temple sites this paper attempt to identify their date of construction and the process of change. The study depended much on comparative studies of the change of site elements such as pagoda, image hall., corridor, and other buildings. The study could conclude that the site of SangO-Ri must be the earliest case which was followed by ChungRung-Sa, which was built in around 427AD. The site of ToSung-Ri was the case which was the work of the rate 5th century. Such process of the development of Buddhist architecture in Koguryo unveils the fact that the process of change was a continuous flow toward a consistent goal of change that had much to do with the contemporary religious situation.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.39-47
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• 2007

In comtemporary interior design, hybrid form causes cognitive turnovers of aesthetics. Especially it offers much possibility to expression techniques in interior design and works as compound system, symbolic aggregate that makes and expands various meanings. The aesthetic ideology of hybrid design can be interpreted through the philosphic concept of art, sublime, reception, representation and explains expression techniques and characteristic in interior design through various transformation and meaning conversion. The expression techinique that is a form of openness, transcendental interpretation that exceed a dupilicate of meaning. can be classified as oxymoron, defamiliarization and interface. The characteristic that is based on those expressions appears as use of complex codes of visual images, decoding strategy, intertextuality of meaning. This research attitude can explain the thinking method of interior design by defining the epistemological scheme that is basically involved in expressional styles with characteristics of hybrid aesthetics. In order to be recognized as the object of aesthetics, hybrid has to be approached by interpretational methods of expression techniques. Consequently the characters of expression techniques in hybrid design can be investigated as one of the methodology in interior design plan.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.21-30
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• 2007

Frank O. Gehry is known to be an architect whose work ranges over different realms, especially between fine arts and architecture. He himself mentioned about this interdisciplinary aspect of his own work: he was inspired by, worked together with, and sometimes directly influenced by contemporary artists. Among the artists, the most influential ones are the sculptors, especially Richard Serra of Post-Minimalism and Claes Oldenburg of Pop Art. Based on this historically known fact, although very brief, this study explores how the features of Post-Minimal sculpture were transferred into Gerhy's architecture, and how Gehry has developed them into his own language. In Post-Minimal sculpture, the main concept 'Anti-Form' was realized by emphasis on materiality, process and intuitiveness of work of in. Those features appeared vividly in Gehry's works especially in his second stage of his life, but seemed to have disappeared in the third stage. However, in the fourth stage, Gehry went beyond the influence of Post-Minimalism, and he created very unique formal language dialectically formed between Post-Minimal sculptural language and his architectural language.

• 복식
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• 제59권3호
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• pp.14-26
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• 2009

This study is to investigate makeup shown in fashion collections of Christian Dior based on semiotical theory of Morris. Morris's theory developed from semiotics of Peirce composed of syntactics, semantics and pragmatics. Therefore, in the case of analysis of fashion makeup, syntactics investigates signs of forms, colors, textures and materials of makeup, semantics finds out meanings of the signs of syntactics and pragmatics analyzes aesthetic characteristics which the signs of syntactics and the meanings of semantics symbolize. Fashion makeup in Christian Dior Collections were expressed experimentalism sign, multi-culture sign and popularity sign. Experimentalism signs were expressed with graphic makeup and cyber techno makeup and multi-culture signs were done with ethnic make up and retro makeup. In addition, goth make up and hitch makeup showed popularity signs. This study found that the three types of signs were considered to reflect aesthetics of the contemporary fashion. Also, this study could conclude that fashion makeup was able to be interpreted by Morris' semiotics.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2003년도 춘계학술발표대회 논문집
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• pp.98-103
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• 2003

Globalization and multi-culturalizm have put light on the importance of cultural identity. To find or establish cultural identity designers have made their effort in their practice. Understanding possible expressional method for cultural identity in this context koreanity, can be a basis to promote such activities. The propose of this study is to investigate expressional method of koreanity in interior design cases appeared which were introduced in major domestic periodical publications since 1995. 43 cases were analyzed by using the analysis frame of 4 expressional method , such as an indicative imitation method, a partial invoked method, a partial transformation method and a conceptual reception method. As result 47％ of total cases were used the partial transformation method. 16％ by the indicative imitation method, 7％ by the partial invoked method and 30％ by the conceptual reception method. This result indicated designers have had more active attitude in expressing koreanity with interpretation of traditional concept in a contemporary way, rather than simply introducing and immitating traditional object. Design examples were organized and explained according to expressional method types.