• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.581-594
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• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.197-204
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• 2000

With the current of the end of a century and social, economic, political, and cultural turbulence, people take advantage of the various ways to express their stagnation. This study introduces the term representativity and it will explain the men's fashion of the end of a century. On a theoretical basis, the concept of the representativity, image, symbol and imitation which are used as a tool for expression will be examined, and together with this, inner representation and outer representation will be categorized. The inner representation of the men's fashion in the end of a century can be taken for the purpose of connecting the image of masculinity. The image of masculinity is widely spread owing to the mass communication of a consumption-oriented society, so its hard to define that image as one thing specific. Hence, in order to discuss the male gender and mens fashion, New Man phenomenon should be noticed of. 1980's New Man influence has lasted till now. New Man images were largely categorized into two images like New Lad and Iron John after the mid 1990's. Therefore, the image of masculinity is largely classified New lad, who desires success and pursues the hedonistic life style and Iron John, who enjoys thrill and follows economical life style. The image of masculinity has influence on the outer representation how it is imitated and symbolized via many designer's works and street fashion. Two masculinity images are dominant over the men's fashion of the end of a century. One is inhumane and rational corporate power look that stems from symbolization and imitation of New Lad. The other is outdoor casual that originated from the symbolization and imitation of Iron John.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.1
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• pp.44-51
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• 2002

The objective of this project is to improve the environment of the estuary dike on the Youngsan-River through Re-landscaping. An estuary dike of the Youngsan-River, the largest in the Orient, was constructed in 1981 and connects Mokpo City and Youngam-Gun province. Twenty years ago, when this dike was completed, this place was one of the famous tourist attractions of Korea. It symbolized the development and growth of Korea. But this dike at present is only a dreary sight as a huge concrete construction element. Therefore, a wall painting on the estuary dike was planned to improve this image. The site, an estuary dike of the Youngsan-River, is located in Mokpo City and its length is about 1,360m. The planning focus of this re-landscaping, which is a proposed improvement design through the analysis of characteristics and problems in conventional facilities, is as follows: (1) Introduction of a wall painting that is a symbol of the sea and river (by the creation of an illusion), (2) Production of the wall painting which is under consideration to create a friendly atmosphere of the circumference view and (3) Preparation of a design to establish an approach to the waterfront. By following these steps, an estuary dike can function as a tourist attractions and can be transformed in to cultural space for civilian. This project is good example of environment design that is completed with the regional residents participation through community input in the planning and initiation of a wall painting. The concept of environment design which involves the residents participation and re-landscaping in Korea has not been established up to now on. However, as this projects has proven, consideration for regional residents is a very important factor for the administrative office and planing specialist to address. In the future, it will have a direct influence on the development of design planning. If the establishment of space that can be accepted by residents with love, affection and self-confidence is possible, environment design in which residents participate actively, can be realized.

• Journal of the Korean Society of Costume
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• v.39
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• pp.59-77
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• 1998

This paper is focused on the traditional sash weaving handicraft of‘She’ethnic group, which is located in Fujian, Zhejiang, Jiangxi, Guangdong province of China. This research is main-ly based on the field work, analyzed and inter-preted the traditional sash in systematic and reasoned way. The summary of this study are as follows : 1. On its technological aspect, weaving structure of the traditional sash is made of warp rod backed weaving. The used tool is primitive one but the weaving process includes scientific method. 2. From the social-cultural point of view, the sash ha been the symbol of love towards her lover. Every woman of this group had taken training for this sash weaving from a child. 3. On its ethnological aspect, it has been long history and has interchanged with other ethnic group like Miao, Han and also Okinawa country of Japan. The pattern inside this sash are almost looks like characters, but they are not Chinese characters whereas are the inde-pendent code of‘She’ group and have been inherent from ancestors and which will be tran-smitted to their posterity. These independent code of‘She’group are the traditional message to their later generation implicating their natural circumstances, human relationship, ethnic myth, spirit etc. 4. I recognize that the pattern inside the sash is defined as the communicative code and in comparison to language, it is more repetition and less apparent as close code. Nowadays China has been developed es-pecially in the economical fields rapidly. Under the circumstances traditional weaving culture of ethnic groups has been facing a crisis of disappearance, which will be a great loss for the country as well as the human beings. For this reason, I emphasize that it is very immediate to make co-researches into the material culture of Chinese ethnic groups.

• Journal of the Korean Society of Costume
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• v.41
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• pp.169-183
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• 1998

The Tartan, the representative check pattern and traditional costume of Scothand, is the most popualr checker which has inherited from the clans of the Scotch Highlands in the ancient times and continued to develop. It is a symbol of the Scotch culture and tadition and widely used in various ways according to status, birthplace purpose and use. Therefore, this study was intended to inquire into Tartan check. The purpose of this study attempted to make a systematic investigation of the characteristic of the Tartan check. the checker using vertical and horizontal lines which was the universal plastic element and inquire into it in terms of era, designers and combined works. By doing so, this study attempted to investigate the phase of the Tartan check in world fashion and further forecast the future of checker design applicable to the 21th-Century fashion. In addition it, attempted to investigate the features of Scottch costume unknown in our academic circles and inquire into the proless in while the Scottch has retained the originality of its own which suppressed by neighboring countries. This study could find out that the checker is the element of infinite applicability in the future. It is expected that the sophisticated and beautiful design using the checker will be presented by many Korean designer through the overall and systanatic study of the checker. On the other hand, to make an empirical study costume of other races, a comprehensive examination should be made of the social and cultural background against which locals are using their costume, through the survey of their real costume and on-spot research. It this respect, this study has some limitation in time and data collection. Besides the analysis of costume through materials and photos in museums as well as the study of cloth material and accurate colors was not con여cted in this in this study. This will remain to be study of in the future.

• Archives of design research
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• v.18 no.2 s.60
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• pp.345-354
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• 2005

From the 20th century, as international trade increases with the development of transportation and industries, a standard pictorial language to facilitate exchanges with others in different countries became necessary. However, it is not easy to have a full agreement on a standard pictorial language among different cultures. Therefore, the evaluation of standard pictograms has been the main discussion issue of the 150 since the organization's establishment in 1947. Although the 150 has a test method, 1509186, the participating countries do not follow the test because it does not reflect individual seeing mechanism for decoding pictogram which varies with his/her own experience. This study focuses on the theory of graphic symbol and seeing mechanism, and suggests what should be taken into account in the standardization process. In Chapter 2, the study investigates whether there be any cultural shock as we live in the net culture, and defines what reality is from a digital aesthetics view. What should be studied further is also presented, and a new method for revised international standard by means of analyzing seeing mechanism of decoding pictogram is suggested.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2007.05a
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• pp.132-135
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• 2007

본 연구에서는 브랜드 개성이 제품의 개성을 판단하는데 영향을 미치는가에 대하여 설문을 통해 살펴보았다. 동일한 제품에 대하여 개성이 상이한 브랜드가 적용되었을 경우 제품의 개성을 판단함에 있어 브랜드 개성의 특성이 반영되는지 여부를 확인하고자 하였다. 설문을 위하여 두 켤레의 신발을 준비하였으며 각각은 상징적인 측면이 강조된 여성용 하이힐 제품과 기능적인 측면이 강조된 운동화로 구성하였다. 각 제품에 대하여 명품브랜드(Versace), 일반 상용 브랜드(독일: C&A, 한국: 밀리오레), 그리고 브랜드가 부착되지 않은 총 6장의 사진을 준비하였다. 실험에 앞서 별도의 피험자들이 상기 사용된 브랜드들에 대하여 "frohlich/유쾌함(cheerful)", "ehrlich/정직함(honest)", "provokativ/도발적인(provocative)"의 형용사로 평가를 하였다. 본 실험에서는 실험참여자에게 각 신발들의 3가지 사진 중 무작위로 선정된 사진을 한 장씩 보여주고, 각각에 대해 브랜드 측정에 사용했던 동일한 평가항목을 이용하여 평가하도록 했다. 더불어, 본 연구는 개인주의 문화권에 비하여 집단주의 문화권에서 브랜드의 영향이 더 두드러지게 나타나는 지를 알아보기 위하여 독일의 만하임대학(Universitaet Mannheim)과 한국의 한국과학기술원(KAIST) 학생들을 위주로 설문을 실시하여 문화적 차이에 따른 브랜드 영향력을 비교하고자 하였다. 실험결과에서는 독일과 한국 모두에서 브랜드 개성이 제품 개성에 유의한 영향을 미치지 않는 것으로 나타났으나, 브랜드 개성이 제품의 기능적 측면(가격)에는 영향을 미치는 것으로 나타났다(p<.001).

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.204-209
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• 2007

As people are getting interested in themselves ever than before, the value of culture industry which can satisfy their emotions has been considered much more important. According to this, in terms of the 'space', it is better to represent 'space' not just as a functional space, but the human-centered and making human and nature together. In this society, the most human-centered design can be achieved by pursuing value which is friendlier to nature. And it is sure that the interior design that completes life quality as well as emotions of human will be common in near future. There already has been a try 'Green interior' in subway station in variety ways, and now it is needed to make indoor display in Seoul subway station different in order to satisfy human emotions. If culture space in Seoul subway station applied eco-element interacts with indoor environment, it is surely expected that people have better feeling on subway station as well as help eliminate negative elements which underground have had. In culture space, there are many advantages for displaying space into 'nature', that is, natural space represents the best comfortable and agreeable space, and future-oriented design when it gets interacted with environment. Application of 'Green interior' in Seoul subway station makes special place ness by its symbol and image, so that it derives people to have more natural and comfortable movement distance in subway station, offers more comfortable and cozy place as well. Furthermore, it makes people very moved by experiencing the most special culture space that they have ever had.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.46-57
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• 2018

Fashion is a cultural element expressing general and common aesthetic awareness in a relevant region in the relevant times. On the aspect that shoes are also a part of fashion reflecting the unique aesthetic awareness of Korea, this paper aims to analyze the aesthetic awareness contained in the aesthetic features observed in the traditional boots. The aesthetic features in terms of the form were the balanced usage of each element including curves, straight lines, simple shapes, contrast colors and materials, and the application and ideological significance as the symbol of social position and status in terms of the contents. Aesthetic awareness pursues the beauty of moderation through the compromise between curves and straight lines, as both elements accept each other's features and keep balance without inclination to one element. Next, solid and void are naturally expressed by appropriately adjusting the expression on colors, materials and shapes through the harmony of composure and techniques. While traditional boots were used as the sign indicating social position and status as the unity of spirit and a thing, they pursue the value of rhythmic vitality by giving spiritual meaning to a thing.