• Journal of the Korea Furniture Society
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• v.22 no.4
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• pp.245-251
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• 2011

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• Journal of the Korea Furniture Society
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• v.25 no.4
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• pp.268-276
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• 2014

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• Journal of the Korea Furniture Society
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• v.24 no.2
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• pp.113-120
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• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• International Journal of Computer Science & Network Security
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• v.21 no.9
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• pp.292-296
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• 2021

The purpose of this article is to explore the modern branding - its nature, history, originality, spirit and value to consumers. In particular, graphic design of the brand is an important component in terms of the modern European culture. The scientific novelty of the work implies the study of the contemporary design, which widely embraces the sphere of cultural and social life and can contribute to the development of progressive phenomena in society, as the design can literally be defined as a rethinking, a search for new meanings. The design itself is a versatile means of communication at the level of feelings and meanings. One of its main goals is the harmonization, and even formation of perception of the world, creation of new images or rethinking the essence of ordinary things. Hence, the research in the field of the design development is topical in the worldwide cultural space..

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.35-49
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• 2016

Dopo was the clothing of the Joseon period, which had a strong value of Confucianism. Apart from the kings and princes, government officers and Confucian literati wore Dopo as their official clothing and the uniform. The basic form of Dopo had the straight collar similar to Jikryeong. The difference is the shape of a Mu, which was fixed inside or on the back section along the side line of the front section and made two flaps on the back section. The clothing found in the tombs of Bae Cheonjo (1532~?) are from the mid-16th century to the early 17th century with the clothing style of the early Joseon period. The outer collar of all clothing was the shawl collar except for the Sibok and the inner collar was sewn to this. Two items had square tray collars, which were folded in half and sewn inside in half. The sleeve had a straight inseam from the armhole and its end around the wrist was round and wide. The carp-shaped inseam of the sleeve and wide sleeve indicated a change of sleeve shape. The shapes of the collars and the wide overlapped section of the dual collars demonstrated the shapes of the initial outer robes. The man's outer coats with wide sleeves were mostly cotton-quilted clothing. As described above, this paper examines the basic shapes of outer robes including Sibok, Jikryeong and man's outer coats on the basis of the clothing and artifacts from the tomb of Bae Cheonjo (1532~?) and examined the shapes, composition and features of Dopo. This paper aims to improve awareness of the wisdom and spirit of ancestors in life hidden in the sewing of the three Dopo items and on the importance of historical research.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.63-69
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• 2002

The Second Namsan Tunnel required renovation. The landscape design was conducted as part of the comprehensive programs for renovation. The landscape design covered site analysis, design development, a working drawing and a maintenance plan. In May of 2001, the Second Namsan Tunnel was renovated and reopened to traffic. The tunnel was recreated as a new type of tunnel with function and beauty. The entrance and retaining wall of the tunnel has public character. Users are greatly affected by the entrance and retaining walls along roads. The landscape architect had to find new materials and methods to improve the environment and to combine artwork with the entrance and walls of the tunnel. The surface of the tunnel entrance and retaining walls are artistically treated with ceramic tiles and paint. Various regional characteristics and cultural meaning are symbolically expressed. Or the tunnel entrance from the Joong-gu side, entitled "Glory of the Future", the hibiscus symbolizes the bright and glorious future of Korea. On the retaining walls, entitled "Hope", the promising Joong-gu is symbolized through image of Korean magpies, mountains, rocks, roses, winds and nature. As for the tunnel entrance from the Yongsan-gu side, entitled "Vivid Spirit", pine trees symbolize the Koreans′strong will and an enterprising spirit. On the retaining walls, entitled "Lively Motions", Yongsan-gu is symbolized through image of pigeons, mountains, rocks, roses, winds and clear skys. The entrance and retaining wall of the Second Namsan Tunnel, whose surfaces are treated with tiles and paint with artistic value, would create an atmosphere using large-scale wall paintings. In this artwork, users would perceive a unique sense of place through the symbolic images of the vertical planes of the tunnel.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.130-139
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• 2008

We have attached importance to the values of spirit and immateriality. As the age of modernism of rationality ended, human being began to emphasize spiritual and immaterial while accepting multiplicity and diversification in the whole areas of society and culture. Hence interests have increased in another side of human spirit that was oppressed by rational, analytic, reasonable and scientific thinking, which has expanded the inner world of human being to the world of the unconscious. According to these paradigm changes, steady efforts to improve our lives better both materially and spiritually have been made in the areas of art and design. Therefore, the current study aims to examine the meaning of object expressed in space from the viewpoint of the unconscious, focusing on works of designer Philippe Starck after 2000 in which unique, preferential and liking characteristics are expressed well. Philippe Starck is a designer who connects design with our daily lives and formalizes it with creative ideas. Also the study theoretically explored the theory of the unconscious, a concept of Freudianism, based on 'Meaning of Dreams' of Freud, and explained the expressional characteristics and meaning of unconscious desire through his works by putting object in Philippe Starck's space. It aims to grope for the meaning of object as another possibility that can function as a spatial ruling element by analyzing object through expanding the extent of correlation and interpretation between human containing spiritual things and object which is the recognition subject in space of the present time, not a mere concept as substance like in the past, and expression of Starck's unconscious desire based on unconscious theory.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.3-11
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• 2004

The origin of Uchida is strictly avant-garde and carries a social dimension. The work is a challenge to consumption-oriented mass production, a revolt against intrusive one-way communication, and an aversion to oppressive politics. Such a spirit led to a rare communication design that was created in collabolation with the user and designer, both relating to each other's senses of touch and in the same familiar plane. He first began by focusing on the physical movements of objects in order to achieve maximum comfort and lightness. From the beginning, He avoided strong, sturdy solids, and favored the faint, transitory and vulnerable. He choose the pursue "furniture with delicate lines", "to create darkness by layering shadows", all of which are extremely unique and resulted in designs that have a profound presence. Uchida gives various meanings and functions to the grid. This activities and philosophy of Uchida Shigeru influenced on the interior design.the interior design.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.21-28
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• 2005

Arata Isozaki is one of the Japan's most important contemporary architects with an international reputation and has designed notable buildings in Asia, Europe, and the United States. Arata Isozaki is not an architect simply explained by a single ism or style, he has dedicated himself to express all diversities implied in different periods and styles. With an avant-garde spirit and enthusiastic creativity, he has devoted all his efforts to bring these diversities and complexities into his own architectural works. The study was aimed to identify the key characteristics implied in his overall design concept. Through the analysis of his works, the key features underlined in his works were characterized by five key words, which are tradition, eclectic, metaphor, metabolism and proportion. These five characteristics have been well Presented in his works individually and sometimes as a whole. His unique combination among these key design concepts has been impressed by many other architects in worldwide.

• Journal of Korea Multimedia Society
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• v.16 no.10
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• pp.1214-1229
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• 2013

Maintaining our tradition makes us have pride for our nation and plays important role for recognition and establishment of identity for our unique culture in the world. Contrast to the western scientific technique, the scientific technique of Silla Bell absorbed in the life of our nation is the fruit of wisdom science found through rich life and experience by harmony between our nation and nature. Today, ideological backgrounds for many cultural heritages weren't be found and there are many overflowing hypothesis. Silla Bell is the plastic art including cumulative utopia of the racial spirit. So there would be the information of the racial spirit including symbolization, artistry, creativity, and historicity. However, unlikely with the words, it is the profoundly concentrated shape, so the meaning can be diluted or distorted in later generation. The efforts to figure out the symbolization in Korean bells, especially Silla bell according to its exclusive shape, but no hypothesis was accepted as an established theory of academia by gaining extensive agreements. Thus this paper traces the symbolic meaning accumulated in the shape and prepares for the theoretical background accessing to the artistic spirit of forebears who created super-humanity formativeness. Also regarding the Silla bell which is regarded as the best Buddhist metal craft that people believe they can be free from the anguish at the time of listening to its sound, we studied the symbolization of the bell as the religious ritual custom as well as the possibility to utilize the bell as a motif of living art in the aspect of formative expression.