• 한국실내디자인학회논문집
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• 제17권4호
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• pp.50-57
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• 2008

Futurism can be defined as a movement in the early 20th century founded by Italian writer Marinetti apposing to traditional and conservative art. Though its life as a movement seemed to be fairly short, it can be said that the very essence of futurism can be seen whenever there is radical change in our society such as the information revolution. Even though the information revolution has brought us many positive improvements our life including art and design, lately there are also discussions about the defects in our life. Ron Arad may be considered as a designer and artist whose intentions and expressions are very similar to those of futurism. This study investigates concepts, meanings, and expressions of futurism in art history and then those of Ron Arad's shown in interior design projects. By examining selected project examples the author defined that rather than optimistic viewpoints, avant-garde and technological aspects were found to be strong in symbolic qualities. As for expressive qualities, dynamism and continuity appeared to be Ron Arad's unique expressions, very similar to those of futurism on the other hand, purity and temporarily were found less. It is hoped that the study may be a help in better understanding futuristic qualities of Ron Arad, one of the radical and experimental designers of our age.

• 한국실내디자인학회논문집
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• 제16권5호
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• 복식문화연구
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• 제22권3호
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• pp.383-398
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• 2014

This research worked on the cooperative case by Marc Jacobs, who was involved in innovative collaboration in the field of fashion, and the analysis on imbedded values. With assessment of it, this paper aims at providing the theoretical ground on prevalence of fashion collaboration for creative innovation and presenting the basic material in establishing the design and marketing in the fashion industry. In methodology, the review was followed up about literature regarding Marc Jacobs and collaboration and his cases in 2001 through 2012. Results showed that his collaboration cases could be divided into those with modern artist, those with fashion brand or designer, those with other field brand than fashion, and those with the public star. They were processed into such a form as development of new product and collection, shop display, and exhibition event. The value could be drawn from this case examination of Marc Jacobs' fashion collaboration, which includes the design innovation through reinterpretation of tradition, innovation of maximized brand value, and transboundary innovation toward a vast extension of realm. Namely, the collaboration of Marc Jacobs would be the driving force for design innovation and the creative process for both parties concerned through endless cooperation and would generate the innovative value for fashion field.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.12-19
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• 2009

The characteristics of light in the paintings of Rembrandt van Rijn, Johaness Vermeer and Edward Hopper are very different. While Rembrandt and Vermeer lived in the 17th century, Hopper lived in the 20th century. Although this time gap, comparative study on their light-space relationship is important because there are spatial similarities as well as light differences. Most three painters' works depict interior spaces with one person inside. The interior space is filled with different light and shadow. In the Rembrandt's paintings, only part of the figure is lit in the ambiguous darkness. In the Vermeer's paintings, the soft indirect light is filled in the domestic space and the boundary between the figure and space is blurred. In the Hopper's paintings, the direct sunlight invades the interior and the figure confronts with strong daylight. These light differences were caused by the artists' intentions as well as the environmental situations. 4 case paintings of each artist were analyzed by phenomenological aspects and computerized light brightness test. Scale models were built to re-construct the three different light characteristics. The model experimentation will have potential to develop 2 dimensional art analysis into 3 dimensional space design by means of light. However it was very difficult to construct the three lights, the experimentation shows they have unique characteristics that can be applied to spatial design studies.

• 한국의상디자인학회지
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• 제21권1호
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• pp.47-57
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• 2019

The purpose of the study was to explore effective satisfaction factors for continuous partnerships between fashion companies and artists. A questionnaire was developed by the researchers and results were collected from a total of 273 people who were working for a fashion company or working as an artist. Data was analyzed by the use of a frequency test, a reliability test, an exploratory factor analysis and a structure equation model analysis using AMOS 18.0. The results of the study were as follow. First, profitability and adequacy had significant effects, but awareness had no effect on confidence concerning the partnership. Second, awareness and profitability showed significant effects, but adequacy showed no effect on the flow among those in the partnership. Third, confidence had a significant effect on flow. Fourth, among the partnership factors, confidence and flow had significant effects on partnership satisfaction. Fifth, flow showed a significant effect on the intent for a continuous partnership, but confidence showed no effect.

• 복식문화연구
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• 제19권6호
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• pp.1372-1384
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• 2011

The purpose of this study was to identify egonomy tendency on their self-makeup and appearance management behavior of university women in Jeonbuk province. A self-administered questionnaire was used for data collection. Frequency analyses, reliability analyses, cross-tabulations and multiple regression analyses were used. Factors of university women's egonomy tendency were individuality, value, luxury good, style, design, appearance, and economic feasibility. University women were classified into the egonomy retarde group(G1), the value pursuing group(G2), the economic feasibility pursuing group(G3), and the highly egonomy pursuing group(G4). G1 were indifferent to their makeup methods and appearance management, had the least experience in buying recommended cosmetics or idea cosmetics. G2 invested time and efforts in makeup and managed their appearance with cosmetics or folk remedies, had less experience in buying artist brand cosmetics. G3 performed makeup frequently, were not much interested in appearances while showing the most frequent appearance management behaviors using cosmetics of folk remedies, and spent small amount of money to buy cosmetics. G4 showed high frequencies of all factors of self-makeup and appearance management behaviors, had the most experience in buying artist brand cosmetics and spent much amounts of money to buy cosmetics. Self-makeup behavior was affected by their tendencies to pursue individuality, values, appearance and appearance management behavior was affected by their tendencies to pursue luxury goods, appearance, and economic feasibility.

• 조형예술학연구
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• 제6권
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.51-61
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• 2014

Aesthetics of use for modern people can be regarded as being weighted toward universal and rational function since it has focused on an 'automation and efficiency' and 'smartness' in terms of technological and human engineering position. Thus, aesthetics of use as an individual agent has remained in minimal level. This study attempts to seek conceptual model of design regarding the behavior of users from the systematization of critical theories about the usability. To do that, 'HERTZAIN TALES' written by Anthony Dune and the concept and system of Droog Design have been used as a core standard. In line with the various experiments by artist groups such as Fluxus, Memphis group and the work of product semantics, and inherent characteristics of Droog design, which has surfaced from the 1990s, concepts that has mentioned in the Hertzain tales have been organized into main texts. By overcoming cognitive bias inherent in the material culture and by overcoming an existing usability based on immateriality and dialectic solution, the autonomy of critical design and instrumentality of Droog design have been systemized. By interpreting the design aspect of 12 pieces that have been submitted to the RE;MIND section, the core of this study, it has been confirmed that conceptual and critical design's aesthetics of use From the interpretation of the design aspect of 12 pieces that have been submitted to the RE;MIND section, the core of this study, it has been confirmed that conceptual and critical design's aesthetics of use has established the autonomy and independence of the behavior of users, created functional articulation of materials and secured new conceptual model and thus, could be an effective methodical clue for creating an emergent design.

• 한국가구학회지
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• 제19권6호
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• pp.439-446
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• 2008

High Tech Design manner is a design concept that had been constantly discussed in constitution process of the West art history and modem ideology and had been experimented in industry, having started from futurism and structuralism in the early 20th century through Kinetic Art & Technology Art and up to now. High Tech Design had a great influence also on Post Modernism and more important is that this manner of design will be existing continually in the future too. From the modem times when machine civilization started, the artist and designers expressed a utopia will showing the future world with help of High Tech Design and modem people are realizing technology images as a utopia, in the space and material presented by this high tech design. And this utopia imply the images of dynamic power, speed making a voyage in universe, dream of future, hope, mass production, earth's environment, wealth etc. High Tech furniture was lightly designed by using thin steel wire, structure stressing the metallic characteristic and tempered glass, and it was used for presenting a convenient interior space visually, and with that it can make a unified sense in High Tech interior space, and a contrary effect compared with minimal space. High Tech Design equipped with glass and metal materials looking inappropriate for our interior space due to their sharp and cold image has been regularly used as living furniture, not only decoration function, and then there must be reasons for that. This study intends to research how High Tech Design has been changed and developed in the design history & West art history from the early 20th century, and to present it's value of development as data orienting, namely a direction for the industry of the next-generation and furniture design.

• 복식
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• 제39권
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.