• 한국융합학회논문지
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• 제10권6호
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• pp.171-178
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• 2019

일본의 초기 현대건축을 성공적으로 이끌었던 단게 겐조는 1950년대부터 건축의 현실적 창작 과정에서 전통을 어떻게 표현할 것인가에 관심을 가졌고, 일본건축의 전통성을 자신만의 방식으로 현대건축에 표현하려고 노력하였다. 단게는 전통적인 형태 그대로를 보존하는 방식의 기존 전통론으로는 더 이상 일본의 전통성을 국제적인 것으로 만들 수 없다고 생각했고, 따라서 자신의 '신(新)전통'을 통해 전통을 끊임없는 혁신에 의해서만 지속되는 것, 창의적인 활동을 자극하는 촉매제로서 결과에는 흔적을 남기지 않는 것으로 주장했다. 따라서 본 연구에서는 단게가 자신의 건축에서 주장했던 '신전통'에 대해 그 개념과 특성을 분석하는 것을 목표로 했다.

• 건축역사연구
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• 제10권2호
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• pp.73-84
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• 2001

The main purpose of this paper is to show that the new paradigm of a period can be constructed by the reinterpretation of the historical precedents or the dialectical mediation between the old and new. We can tell this process the creative dialogue between the past and present. The continuity and rupture, the renovation and succession of the tradition can be understand by this interpretive insight that opens the new horizon in architecture. In oder to prove this preconception this paper analyses the ideas and design principles of Le Corbusier. By showing how his main ideas and principles are formulated we can understand his unique position as a modernist and characteristics of his architecture. It is also the another purpose of this paper. This paper first looks into various aspects of his architecture and his personal background, then Investigates his unique approach to historical precedents. By the imaginative eye and comparison with inspiration he connected contemporary situation to the tradition and was able to deduce a new paradigm in architecture. His way of making relationship with the past was a priori, dialectical, and fundamentalistic. He always searched for universal norm, eternal rules, and timeless principles which are also modern and new. This both side shows well his characteristics and his architecture. Eventually he could invent a Modern language of architecture by the several ways of dialogue between the modem and the classical, new technology and old convention. We can say that his way of dialogue is a kind of reinterpretation of the historical precedents which enables open the future of architecture.

• 한국의류산업학회지
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• 제25권2호
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• pp.153-164
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• 2023

As interest in the environment and sustainability increases, a tendency to pursue eco-design is emerging. Sustainable design coincides with the Korean aesthetic sense of applying the principle of the circulation of nature. This study examined Korean traditional furniture, Bandaji, from the perspective of historical and cultural sustainability and extracted and adopted a sustainability-related motif. The purpose of this study was to develop a creative bag design that reflects Korean tradition and strengthens artistry. First, a bag was produced based on the morphological characteristics of Gyeonggi-do Bandaji. Second, though the original overall design was maintained, the decorative patterns were modified by, for example, increasing the number of ear decorations on the surface of the bag and reducing the number of traps. Third, a new geometric pattern was created for the surface of the bag; this entailed moving the position of the handle-shaped ear ornament and the leather. Fourth, new decorative patterns were drawn on the surface. This study is meaningful in that it presents a sustainable bag production methodology that reflects Korean aesthetics. It also showcases a designer's unique, creative, and artistic bag design. It is expected that design work inspired by Korean formative beauty will be an opportunity to simultaneously utilize and support various Korean cultural assets and artworks.

• 패션비즈니스
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• 제25권4호
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• 건축역사연구
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• 제7권4호
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• pp.49-60
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• 1998

The first aim of this paper is to investigate and analyze Alan Colquhoun's architectural hermeneutics of tradition, 'conceptual displacement of the past.' The second aim is to overcome the limit of it, and to suggest new architectural hermeneutics of tradition, 'the reactivation of the past.' The architectural work is reduced by Colquhoun to typology or arbitrary language because he believes that without arbitrary language natural language is not able to work effectively. However, he ignores that two languages cannot be separable. When they are separated the key to natural language is understood to be an unverifiable similarity between a sense perception and its correspondence in the architectural object, while the key to arbitrary language becomes mere artificial agreement on the value and function of the linguistic sign. Therefore, natural language is appropriate only when it permits spontaneous combinations of sensory data within complex structures which emerge from, and support, complex human interaction and communication(the shining of the world and of the possibility of creative being in each individual thing). Only when architecture is translated into this kind of language, can it reactivate the world's past, and become poetic.

• 비교문화연구
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• 제24권
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• pp.32-45
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• 2011

This paper addresses some issues on the Northern Nigerian traditional garments and caps. We observed that most of the Northern Nigerian garments and caps, particularly those of the Kanuri people, have their origin in the culture and traditions of the people. In very significant ways, the garments and the caps depict the belief systems, political metaphysics, and the general consciousness of the people including their creative impulses. But as more and more people move from rural areas to the cities, travel abroad and as more and more cultures intermingle, inevitable changes catch up with the culture and tradition of the people. We observed that it is hard to find in the Northern Nigeria scene, particularly among the Kanuri people, clothes that have assumed new nomenclature other than garments and caps. We realized that, the culture and tradition of the Kanuri people wearing longer, voluminous and roomy garments preferably with cap have witnessed changes due to the blend with foreign culture. This and many other issues are discussed in this paper. The purpose of this research is to show that inspite of the Kanuri people's strong adherence to their beliefs and culture which hardly encourage any changes, the use of their traditional garments and caps have exhibited the flexibility of their beliefs, culture and traditions. The use of the garments and caps discussed in this paper are those observed among the Kanuri people of Northern Nigeria.

• 건축역사연구
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• 제6권1호
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• pp.67-79
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• 1997

Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.

• 한국실내디자인학회논문집
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• 제41호
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• pp.45-54
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• 2003

An architecture as a creative work can be expressed through its diverse conditions, such as humanitarian and social factors, the natural environments and also the each situations of that period. Thus, architects create their work based upon the experience that they have achieved in the past as well as the informations they have accumulated over the time. By this process architects used to achieve the design they hope to aim, whether it is made intentionally or not. This means that architects used to understand their works as it have the factors of the consciousness and the unconsciousness. This research looks to achieve a new design method by finding out how architects express the tradition in contemporary architecture through a psychoanalytic point of view. Hence, this research shall be a significance if it is applied to the process of modern architectural work with tradition concepts.

• 한국의류산업학회지
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• 제19권5호
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• pp.547-558
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• 2017

Recently, the replacement of creative directors of fashion brands has gained attention from both researchers and practitioners. This study selected three representative fashion brands whose creative directors were replaced in the last 10 years, and analyzed the changed characteristics of their magazine advertisements. Literature studies and case studies were conducted as research methods. The subjects of the case studies were three fashion brands - 'Saint Laurent', 'Louis Vuitton', and 'Gucci'. Magazine advertisements were divided into two aspects: fashion photo elements and layout. The former can be classified into three components: the presence of a specific situation, the background of photos and objects, and the atmosphere of models. The latter can be classified into two components: the logo style and pictorial color. In terms of fashion photo elements, the presence of a specific situation in magazine advertisements appeared differently, depending on whether creative directors focus on the brand's own identity or on their own concept of each season. Also, the background of photos and objects, and the atmosphere of models changed depending on the situation. In terms of layout, there is no dramatic change in their logo styles, for they want to preserve their long tradition. And the more a creative director pursues younger sensibility, the more black and white color effect are added towards magazine advertisements. This study has its significance in that it confirms the replacement of creative directors has considerable influence on fashion brands' images and their magazine advertisements.

• 기독교교육논총
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• 제68권
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• pp.375-415
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• 2021

기독교 영성교육에 대한 관심은 날이 갈수록 증가되는 추세에 있지만, 한국교회 현장의 영성교육은 개신교 전통에 따른 선명한 교육목적의 제시가 없는 가운데 교육내용과 방법이 파편화되어 있는 실정이다. 그러므로 엄밀한 학문적 방법에 의거하여 개신교 영성교육의 목적을 정립하고 그것에 맞는 교육의 내용과 방법을 찾아내는 연구가 필요하다. 이 필요성에 따라 수행된 본 연구는 개신교 영성의 핵심정신을 찾아 교육목적으로 삼고 그 목적을 구현할 수 있는 개신교 교유의 영성교육 내용을 찾아 그것을 오랜 역사를 가진 그리스도교 영성수련들과 유기적으로 통합한 하나의 창의적 영성교육 모형을 제안하는 것을 목적으로 한다. 먼저 교육목적의 설정을 위해서 개신교 대표지도자 루터(Luther), 칼빈(Calvin), 그리고 웨슬리(Wesley)의 '믿음의 삶'에 대한 가르침을 고찰하였다. 그 가르침 안에서 '개신교 영성'의 핵심정신으로서 '자유케 됨'(liberated-ness)의 정신을 발견하여 교육목적으로 삼고, 로마가톨릭교회의 '은혜' 개념과는 다른 개신교 특유의 '은혜의 방편' 전통을 발견해 내어 '자유케 됨'을 구현하는 교육내용으로 삼았다. 그리고 '자유케 됨'이 이루어지는 기전을 다음의 세 개의 창의적 개념으로 설명한다. 신자의 '자유케 됨'은 하나님에게서 나오는 '자유케 하는 의지'(liberating will)로 시작되며, 신자는 '자기를 드리는 의지'(self-giving will)로 이에 응답하게 되는데, 이 두 의지가 만나는 접촉점이 '믿음의 생명막'(the living membrane of faith)이다. 이 기전을 기초로 삼아 구성된 '자유케 됨의 실천' 영성교육 모형의 교육목적은 학습자가 삶 가운데 하나님과의 인격적 '만남'을 가지며 점점 더 '자유케 됨'을 누리는 가운데 더 충성스럽게 이웃을 자유케 하는 사람이 되어가는 것이다. 학습자와 교사의 관계는 쉐릴(Sherrill)의 인격적 '만남'의 관계이며 김현숙의 '공유적 권위'를 갖는 관계이다. 교육내용은 쉐릴의 '만남'의 성경묵상과 다익스트라(Dykstra)의 '실천들', 그리고 개신교 '은혜의 방편'의 다섯 영역과 연계된 그리스도교의 영성수련 다섯 가지를 채택하여 그것을 개신교의 '자유케 됨'의 원리로 변형한 것이다. 이 영성수련들의 새로운 명칭은 '만남의 렉시오 디비나,' '주님향함기도,' '서로-영적방향잡기,' '자유마중섬김,' 그리고 '자유성찰기도'이다. 교수-학습과정은 다익스트라가 학습자 중심의 실천을 돕는 데 사용한 코칭과 멘토링의 과정이다. 교육환경은 무어(Moore)의 '성례전적 공동체'를 지향하는 인적 환경에 중점을 두며, 평가는 학습자 스스로 평가하는 것을 기본으로 한다. 본 교육모형은 그리스도교 역사 안의 주요 영성수련 내용들을 명시적으로 개신교의 '자유케 됨'의 영성으로 변형하여 교육하는 길을 제시함으로써 초대교회 때부터 이어지는 그리스도교 영성수련의 맥을 개신교 교회에서 창조적으로 계승하여 나갈 수 있게 해 준다는 의의를 갖는다.