• 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.

• 한국의류산업학회지
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• 제16권4호
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• pp.511-519
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• 2014

The aim of this study is to develop fashion cultural product designs in order to promote the Iksan region by using motifs from the Mireuksaji, Iksan's most representative archeological site of Baekje culture. The fashion cultural products designs developed by applying cultural resources can be effective at enhancing our cultural identity. Adobe Illustrator CS4 and Adobe Photoshop CS4 were used to reconstruct motifs from the Sumakse tiles and the bronze horse figure in the Mireuksaji Museum. The Iksan brand slogan "Amazing Iksan" was combined with the bronze horse to emphasize the local cultural identity. The motifs from the Mireuksaji were modified and stylized to make different patterns and these patterns were repeated in various ways to be applied to necktie and scarf designs. The motifs for necktie designs were double-row chrysanthemum tiles and phoenix tiles, and the motifs for scarf designs were the double-row lotus tiles and the bronze horse artifacts. Different colorways were chosen and the value of each color was displayed in the CMYK percentages. As a result, eight necktie designs and twelve scarf designs were proposed. The motifs and patterns developed in this study can be used to introduce Iksan's distinct history as the birthplace of Baekje culture. It is also expected that the result of this study can advance the promotion of Korean traditional culture internationally.

• 한국조경학회지
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• 제35권4호
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• pp.1-15
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• 2007

The purpose of this study is to mate a basic foundation for the discourse of Koreanness of contemporary Korean landscape architecture by way of searching the conceptual definitions of Koreanness through analysis of Koreanness discourses. The results are that discourses of Koreanness are to be classified in aesthetics type, spatial-temporal type, and cultural type. Aesthetics type is understood as style in terms of formal and design representation planning principles of spatial composition and immanence in terms of philosophy. Spatial-temporal type is understood as contemporaneity. This is classified as the concept of connoting of tradition, and separating and keeping a distance from tradition. Cultural type is prescribed as cultural identity. This is classified as unity, generality and individuality. The intension of Koreanness of these types is represented as an aspect changing and shifting from one regulation to another regulation. First, in the concerns of substantial archetypes like Korean original form, decorative element, spatial composition aesthetic perception and philosophy, Koreanness shifts to the point of view of contemporaniety which is created and defined in history. Second, Koreanness as contemporaniety shows a trend of shifting the point of view which is to be found through the reconsideration on modem history and modernism. Third, Koreanness defined as cultural identity shows a trend to emphasize the differences in other cultures and includes all the modem cultural agents. The number of views understood as individuality and denial are small but provide important points. Programmatic definition of Koreanness is not suitable. This basic study uses a stipulative or operational definition of Koreanness in many ways such as spatial and regional identity. Koreanness study for Korean contemporary landscape architecture requires a systematic understanding of modernity and colonization relating to identity. Also, it is needed to elaborate on the discourse to divide the meaning of a concept of identity.

• 한국실내디자인학회논문집
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• 제41호
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• pp.198-205
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• 2003

In this multi-cultural era, the cultural identity of each nation has appeared as a major issue, and needs to clearly define it through comparisons with other cultures have been raised. This research aims to analyze characteristics of traditional furniture of Korea and China according to residential culture and to find out their similarities and dissimilarities. ‘Banga’ in Korea ‘Sahapwon’ in China in the same era were selected for the comparison for traditional furniture between Korea and China. In the part of comparative analysis, characteristics of the furnitures are summerized based on classification into spatial system of housings and types of furniture. After that, traditional residential cultural differences between two countries that reflected on characteristics of furniture are distinguished and compared. The result of analysis is expected to act a part role of defining the cultural identity of Korea.

• 디지털융복합연구
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• 제14권7호
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• pp.397-402
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• 2016

본 연구는 그라피티(Graffiti)를 동두천 구시가지에 적용하여 도시를 재생시키고, 더 나아가 그것을 도시의 정체성으로 연결시키는 도시 문화콘텐츠 융합 디자인 방안에 대해 논의하였다. 연구를 위해 세 가지 방법을 이용하였다. 먼저 동두천의 정체성 배경과 문화자산을 조사해보고 정체성이 잘 드러나는 장소를 분석하였으며 그리고 관내 대학을 다니는 대학생들을 대상으로 인터뷰를 실시하였다. 조사 결과, 도시 정체성 강화 방안으로서 그라피티 활용에 대한 긍정적 반응을 얻었다. 동두천에 미군이 주둔하면서 만들어진 이국적 이미지는 도시의 정체성을 결정짓는 중요한 요인으로 평가된다. 락 페스티벌은 미군 주둔에 따른 문화적 영향으로 자리를 잡게 된 동두천의 대표적인 문화자산으로서 도시 정체성을 결정짓는 요소 중 하나이다. 이러한 문화자산과 자연스럽게 어울리고 도시 정체성을 더욱 강화할 수 있는 요소로서 그라피티라는 시각문화가 제시되었다. 연구 결과에서는 동두천시의 정체성 변화와 도시재생 효과, 그리고 무공해 문화 창조의 도시 이미지 부각 효과를 기대하면서 그라피티를 활용하는 방안에 대해 제안하였다.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2005년도 추계 학술발표대회 논문집
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• pp.124-125
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• 2005

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.94-95
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• 2001

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.98-105
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• 2012

The purpose of this study is to present the direction for effective public environment design by becoming aware of the social, cultural and historical values that are inherent to the specific regions once again. Concept of regions' sense of identity, regions' resources and regionality were identified as a means based on the basic cityscape plan and guideline for public design. Sample city was analyzed by extracting the regionality elements, and the results are as follows. First, appropriateness of the direction for the public environment design based on the regional identity was confirmed. The need to establish regional identity in the cityscape plan is specified when it comes to the basic goal, strategy and direction. Second, public environment design should be planned within the context of the cityscape. It is necessary to improve with integrated plan by setting up the consistent goal, direction and detailed guideline based on the basic concept of cityscape plan. Third, 'design city' requires the development of the unique design and planned techniques based on the harmony with the existing resources. It is necessary to uncover the powerful design elements that are exclusive to specific regions, and to search for differentiation and visualization to form consensus. Public environment based on regional identity will improve if the above mentioned research results are used as the basic data when it comes to the implementation of public environment design.

• 한국가구학회지
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• 제18권1호
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• pp.56-69
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• 2007

As exchange and cooperation have increased in each country or region and a variety of NGOs are getting increasingly active in the 21st century, environments for the industry of international conventions have continued to improve. However, since the industry is in the starting stage, facilities for international conventions and professional management personnel are deficient. In this study, furniture design that shows the cultural identity of Korea from the invention facilities is focused and efforts are made in order to make the shape that has functionality and meaning based on the analysis of space. Participants of diverse nationalities, who use international convention facilities, feel Korea through furniture and remember its image; thus, this study focuses on the furniture design that has the identity of Korea. The concept of furniture design has been derived based on the traditional aesthetic consciousness in the symbolic, cultural, and emotional light. The identity of design does not depend on the partial characteristics of the traditional society but modernity and internationality shall coexist along with traditionality. Modernity and globalism are reflected along with the traditional elements in furniture.

• 복식문화연구
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• 제32권2호
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.