• 한국실내디자인학회논문집
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• 제26권5호
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• pp.143-151
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• 2017

This study aims to analyze the design of public libraries which act as anchors in culture-led urban regeneration. They have been built as city's symbols as well as catalysts to revitalize city centers and urban spaces since the 1990s. This study finds that the public libraries play roles in the urban development as cultural icons, multi-functional spaces, and public domain. This study examines the five examples of the libraries and finds their important design qualities as follow. First, public libraries are planned to symbolize local culture and history as cultural icons. The shapes of public libraries are expressed with sculptured cultural icons, while their facades are designed to signify cities' identities and images. Second, public libraries in culture-led urban regeneration have multi-functional spaces which provide diverse activities and experiences to visitors. The libraries often have galleries and theaters for cultural life, cafes and shops for daily uses, educational facilities, as well as public services, parking, and transport systems that connect to urban infrastructure. Third, the public libraries become the anchors of surrounding public spaces and cultural buildings. The libraries have the sequences of approach from entry plazas, transitional zones, and entrances to lobbies. Especially the transitional zones between the libraries and the cities that are covered with giant cantilevers expand the libraries' space and establish attractive urban spaces. Forth, the libraries employ nature and cityscapes in their design. The surfaces and openings of the libraries are adjusted to allow many attractive views to visitors. Fifth, the libraries have big lobby spaces which are the centers of the buildings as well as the public domain. The lobby spaces are designed as in-door spaces like out-doors with vertical and horizontal openness that allow the natural flows of light from ceilings, glass walls and vertical voids.

• International Journal of Costume and Fashion
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• 제4권2호
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• pp.18-29
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• 2004

The purpose of this study was to analyze the formative beauty of metro sexual expressed on the 21C men's fashion. in 21C, metro sexual is being accepted as an object to lead the world consumption culture, and it is said to be most appropriate to the definition as a model that can determine the most modern men. Moreover, with well being life style, it shows characteristic that expresses chic sense through fashion. The results of the study were as below. 1. In recent men's wear, sensory feminine that looks young and trendy is being presented through clothes, rather than the image of men who are strong. Therefore, by wearing splendid flower print, bold color and gorgeous accessories, men send off their attractions. 2. The recent body king syndrome gave new aesthetic value on men's body. Therefore, men's body is becoming cultural icon of metro sexual as another face that shows social status and cultural taste. 3. The men's image of metro sexual that is felt from softer skin and hair than women, and well-built body is appealing more through body conscious look. Here, men's body silhouette is being sublimated aesthetically through design with various materials such as see-through and leather etc., and this is body conscious image that can be seen only in metro sexual. Like this, metro sexual fashion sense was expressed by feminine softness sometimes, and beautiful body silhouette sometimes by expressing one's sexiness enough, being away' from conceptual masculine. Therefore, the appearance of metro sexual can be understood that men's body exposure is becoming a social virtue that expresses beauty.

• 디자인학연구
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• 제17권4호
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• pp.327-336
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• 2004

현대는 점점 더 기호의 복잡성으로 다양한 의미를 생산해내는 문화가 지배적으로 되어가고 있다. 정보의 매개체로서 중요한 캐릭터란 시각을 통해서 경험하는 대상물의 본질적인 특성이다. 캐릭터는 형태에 의해서 상징적인 의미를 가지며 기호화된다. 애니메이션에 있어 캐릭터는 단순히 이미지의 표현이 아닌, 하나의 기호에 또 다른 기호를 중첩시켜 의미 작용을 확장시켜 가는 시각커뮤니케이션이다. 이러한 시각커뮤니케이션 수단으로서의 캐릭터에 표출된 시각적, 문화적 요소의 분석은 애니메이션에 나타난 캐릭터가 단순히 미학적 매커니즘이 아닌 새로운 스타일을 이끌어가는 문화코드로서의 역할을 수행할 수 있다는 가능성을 제시하고자 하는 것이다. 이를 위해 퍼스의 기호 유형 범주인 도상, 지표, 상징이라는 개념을 들어 영화 ‘슈렉’에 나타난 캐릭터의 외모와 성격적 특성에 대해 체계적인 분석을 시도하면서 애니메이션이 나타내고 있는 기호현상들을 연구하였다.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.103-113
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• 2005

As today's cultural environment entered the information society, one of the biggest trends of future is the interests of nationalism. The purpose of this study is to interpret interrelation between sign and space design and analyze Korean contemporary space how to universalize traditional conception and attitude in design. The process of this study is illustrated as follows: At first, this study contains basic concepts and theories of semiotics and discusses the possibilities of semiotic approaches in spatial designs. Since the most outspoken theorist in this field can be found in writings of C.S. Peirce, American philosopher, the theoretical basis for this research Is taken from the Peirce's Semiotics. Secondly, this research tries the conceptual approaches based on traditional thoughts of Koreans formed with the philosophic background occurred with the universe, religion and the nature. And then, it approaches for the typical characteristics of Korean traditional space to interpret the meaning and adopt the triadic structure of sign. The structure is classified in status, icon, index, and symbol to analyze the Korean contemporary space design. Finally, it examines the expression structure of the nature of Korea that is succeeded in contemporary space design as the semiotic analysis of the application examples ; and studies the examples that try to set and solve the concept of space in modern society as the real issues in our cultural situations.

• 복식
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• 제62권8호
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• pp.28-44
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• 2012

The aim of this research is to examine the tendency of national tastes reflected in global SPA brands based on the theories of Gans' taste culture and Bourdieu's cultural capital. In this study, the leading global SPA brands such as H&M, ZARA, GAP and UNIQLO can be considered as a representative taste culture as well as an icon of popular culture in the $21^{st}$ century global fashion and also the aesthetic taste of each brand differentiated from their national aesthetic values based on socio-cultural backgrounds. H&M represents fashionableness, practicality and environmental friendliness based on naturalism, democratic humanism, and functional practicality of Sweden. ZARA emerges as the most trend oriented brand as well as customer centered on the basis of cultural diversity, passion and glamorous artistic sensibility of Spain. GAP shows American iconic style, which is the functional sports casual wear, originated from American leisure culture and mass production. Lastly, UNIQLO represents high-tech functionalism and practical simplicity based on Japanese delicate workmanship and simple, concise lifestyle while relatively does not much follow the fashion forward trends. Consequently, the national taste has been proved as a solid foundation to identify each global brand. This should be the key component also applied to Korean global brands for developing their concepts and strategies more successfully based on our own national aesthetic taste.

• 영어영문학
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• 제54권4호
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• pp.561-577
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• 2008

L.M. Montgomery's Anne of Green Gables is not only confidently labelled a Canadian classic but also placed as a national icon along with the moose, the beaver, and the Habs in Canada. Anne's 'Canadianness' is partly due to its location in the rural world of Prince Edward Island. The fictional Avonlea is described as the ideal space where Canadian spirit can interact with the personified surrounding landscapes through Celtic imagination. Additionally, the communal bond of Avonlea fully demonstrates Scottish Canadian identities. The Scottish national character of Avonlea is responsible for clannishness of the Cuthberts and the Lyndes. The disrespect to the French is also due to Scottish heritage in Avonlea. As an outsider Anne wants to be integrated into the community of Avonlea, and successfully adapts herself to the regional shared values. Meanwhile she partly challenges the strictness and rigidness of the born Canadian Avonlea residents. Despite its Canadian origin, Anne of Green Gables is accepted as part of the American canon of children's literature in the Unite States. The configuration of Anne as an American heroine is noticeable among American scholars: by relocating it to the US the female Bildungsroman in the nineteenth century America, a group of literary critics adapt Anne as an American girl for American readers. The heroine of Anne of Green Gables is linked to American novels such as Louisa May Alcott's Little Women, Kate Douglas Wiggin's Rebecca of Sunnybrook Farm and Gene Stratten Porter's A Girl of the Limberlost. Anne is even classified as another Caddie by American literary critics: Anne is placed at the center of Caddie Woodlawn Syndrome as another Wisconsin pioneer child. Canadian identity of Anne is intentionally excluded and Anne was reborn as an American girl in the U.S. In this context, Anne functions as a sign of nation and a site for cross-national identity formation.

• 복식문화연구
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• 제5권3호
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• pp.77-95
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• 1997

The purpose of this is to investigate the relation between Graffiti techniques and the contemporary dress. Graffiti is the internal expression of human potential desires which is composed of informative signs. As Graffiti have become the cross-cultural condition under the Hiphop culture, it makes the meaningless space into the characteristic space, and proposes the identities of graffiti ‘writes’. In the contemporary dress, Graffiti look has become means of communication and playfulness. Through the external forms like icon, index, and symbol, graffiti look expresses individual, social, and political identities, and aesthetic values of satirement and playfulness. It would be define graffiti look as postmodern characteristics, as it wee, which has collapsed between the mainstream, and anti-mainstream, and it contributes to spread streetstyle to catwalk.

• 헤리티지:역사와 과학
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• 제41권1호
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• pp.79-97
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• 2008

고려왕릉은 대부분 개성에 위치하여 실견할 수 없다는 현실적 제약 때문에 연구가 미흡하였다. 또한 왕릉의 구조와 밀접한 관련을 갖고 있는 석물에 대한 연구도 통일신라 및 조선시대에 국한되어 왔다. 이에 본고에서는 강화도 소재 고려왕릉 5기를 대상으로 축조배경과 현황, 석실구조를 살펴본 다음, 강도시기 왕릉관련 석물의 구조적 도상적 특징을 정리해 보았다. 그 결과 강도시기 석물의 특징으로는 구조의 간소화와 규모의 축소를 들 수 있다. 난간석 및 병풍석 등의 시설은 구조적으로 간소화되고 석인상의 크기는 이후 시기에 비해 두드러지게 작다. 또한 도상에 있어서도 석양의 채용 등 일정한 변화가 나타난다. 이러한 변화는 당시 정치 사회적으로 불안한 강도시기의 상황이 반영된 것으로 추정된다.

• 헤리티지:역사와 과학
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• 제45권3호
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• pp.174-193
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• 2012

이 연구에서는 숭례문 육축 구성석재의 재질분석을 통해 암석분포와 점유율을 살펴보고, 각 암종들의 원산지를 추적하여 운반경로를 해석하였다. 연구 결과, 숭례문 육축의 구부재는 담홍색(56.0%), 진홍색(4.5%) 및 우백질화강암(26.2%)으로, 신부재(13.3%)는 모두 담홍색화강암으로 이루어져 있다. 이 암석들의 조성광물은 모두 석영, 알칼리장석, 사장석 및 흑운모로 구성되어 있고, 주성분, 희토류, 호정 및 불호정 원소의 지구화학적 진화경향이 유사한 것으로 보아 동일 종류의 마그마에서 생성된 것으로 판단된다. 전암대자율 측정 결과, 구부재의 담홍색 및 진홍색화강암과 신부재의 담홍색화강암은 4.00(${\times}10^{-3}SI\;unit$)을 중심으로 정규분포를 보이고 있으나, 구부재의 우백질화강암은 모두 1.00(${\times}10^{-3}SI\;unit$) 미만의 티탄철석 계열로 확인되었다. 암석학적 결과를 토대로 원산지 및 운반경로를 해석한 결과, 구부재의 담홍색화강암은 남산의 북사면과 낙산으로 추정되며, 진홍색화강암은 낙산일 가능성이 높다. 또한 구부재의 우백질화강암은 남산 전역에서 유입된 것으로 보이며, 신부재의 담홍색화강암은 과거 창신동 채석장이 있었던 낙산으로 판단된다.

• 한국의상디자인학회지
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• 제15권3호
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• pp.109-118
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• 2013

Fashion icons of 21st century are not only the fashion leaders that show fashion trend but also the typical fashion signs or symbols that show visually changes in sensibility trends. The purpose of this study was to analyze the framework of 21st century fashion by the public to recognize through these changes. In this study, the background of the occurrence of various 21st century fashion icons and their characteristics were investigated and the changes of revealed features and symbolic meanings were examined compared with them of 20th century. The 24 celebrities which have been called as the bests of fashion icons since year 2000 were selected by searching the most popular search engines such as daum, yahoo and google, and 13 of them were picked as the highest in preference and awareness by surveying 50 students majoring in fashion. And then their fashion styles, backgrounds, and influence on the public fashion were studied. As a result, the 21st century fashion icons reflecting the cultural characteristics such as convergence and exaggeration and the sensitivities of fusion, collaboration, hybrid sensibility in art were powerful enough to create innovative styles destroying the era and the standard. Their styles have constantly created new looks. The exposed new individual sensitivities on media-fusion of two or more sensibility and coordination techniques without being tied to the existing anchorage system-were as influential as high fashion and leaded the imitation and reproduction by dazzling the public. As the media become more powerful, the influence of fashion icons interacted more closely with the public and has been evolved through the sensitivity of the reversal, cultural, economic, visual, or temporal fusions. To sum up, it is shown that the outstanding fashion styles suggested by the leading fashion designers have approach to the public more closely by the fashion icons.