• 한국실내디자인학회논문집
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• 제20권3호
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• pp.110-118
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• 2011

Today aesthetics expression could be a 'Everyday-life Beauty', because today art & design are closely related with a contemporary life. This thesis dealt with a everyday-life and sensitive design which sublimate from everyday-life material to the concept of aesthetics, such a purpose of this thesis establishes a base of everyday-life design through everyday-life aesthetics. This purpose made to pay attention to Japan's aesthetics concept, because Japan has been maintained and developed its own everyday-life aesthetics. Even if Japan doesn't have only everyday-life aesthetics, it is useful that is studies as some kind of a prototype. So this study analyzed about a everyday-life aesthetics and the expression method through the case-study of Japan. According to Yonagi Muneyoshi and Leonard Koren, the Wabi-Sabi has three conceptual characteristics like impermanent, incomplete, and imperfect and six expression characteristics like implication, tranquility, simplicity, coarseness, purity, and association. This study process is as follows. In the first a vocabulary of interior design was derived from three conceptual characteristics and six expression characteristics, and spatial facts was abstracted from it, and then volume, form, and then shape of composition facts of interior space was extracted from it. Finally the expression characteristics of the Wabi-Sabi in interior design was derived from these processes. In conclusion, the expression characteristics of the Wabi-Sabi in interior design is the transitional space through a Shadow, the conversional space through form and material composition, and the copying space through a natural friendship.

• 한국조경학회지
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• 제51권2호
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• pp.42-53
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• 2023

이 논문은 다변화하고 있는 환경미학의 최근 전개 양상을 고찰하고, 환경미학의 중요한 갈래로 부상하고 있는 일상미학의 주요 의제와 주장, 쟁점과 의의를 비판적으로 검토한다. 1960년대의 문화 변동과 환경주의를 바탕으로 싹튼 환경미학은 20세기 후반 이론적 기반을 다지며 성장했고, 21세기에 들어서면서 대상과 주제의 다변화 과정에 진입했다. 학문적 성숙기를 맞은 환경미학은 도시를 포함한 인문환경 전반으로 이론적 영토를 확장했으며, 도시 환경과 경관의 계획·설계 담론으로서 실천적 좌표를 제시했다. 특히 2000년대 중반 이후 환경미학의 가장 주목할 성과는 '일상미학'의 성립이라고 할 수 있다. 일상미학 연구를 주도하고 있는 유리코 사이토는 미학 이론의 대상과 범위를 일상의 사물, 사건, 행동, 환경으로 확장한다. 그는 기존의 예술 중심적 미학이 간과해온 일상의 미시적이고 감각적인 국면을 미학의 시선으로 발굴해 현대 도시의 환경과 경관, 공간과 장소에서 벌어지는 현상의 다양한 층위를 새롭게 해석하며, 일상에 숨겨진 '미적인 것의 힘'이 삶의 질과 세상의 상태에 미치는 심대한 영향을 분석한다. 그는 일상의 대상과 환경에 내재한 특유의 성질과 분위기에 대한 감상을 고찰하고, 일상의 미적 감상과 판단이 낳는 환경적, 사회적, 정치적 결과를 경계하기 위해 '도덕적-미적 판단'을 제안한다. 이 논문은 일상미학의 쟁점과 의의를 첫째 미학의 확장과 모호한 일상, 둘째 도덕적-미적 판단과 돌봄의 미학, 셋째 도시 재생 경관과 미학적 문해력으로 파악한다. 특히 사이토가 주장하는 일상미학의 도덕적 덕목, 즉 돌봄, 사려 깊음, 감수성, 존중 등은 동시대 도시재생 경관의 실천에 대한 비평적 준거를 마련해준다. 그가 강조하는 '미학적 문해력'은 일상의 도시 환경과 경관 해석에 환경미학의 관점이 필요한 이유를 입증하는 핵심 개념이다.

• 한국가구학회지
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• 제19권4호
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• pp.243-251
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• 2008

This study explored the theoretical context of postmodern aesthetics in experiencing art/craft/handmade/studio furniture for 'wood culture experience class' or 'wood love experience class', which has been recently carried out by the Korea Forest Service and is apt to focus on making simple wood work just involved in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. I developed the lesson for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the lesson, I explored that students in elementary schools personally understand and define the postmodern aesthetics of New Design furniture as metaphor. As a result, the students will be able to define and identify New Design furniture as metaphor in their lives.

• 한국가구학회지
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• 제17권4호
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• 한국가구학회지
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• 제19권6호
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• pp.498-506
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• 2008

This study explored interpretation of the symbolical and metaphorical aesthetics in experiencing art/craft/handmade/studio furniture theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. After the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor in the previous paper, I developed lesson two for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the second lesson, I explored that students in elementary schools personally transform and interpret the postmodern aesthetics of New Design furniture metaphorically with the meanings of symbol. As a result, the students will be able to write about the aesthetics of New Design furniture as metaphor in interpretation transformed by his/her perspective of a piece of selected New Design furniture.

• 한국가구학회지
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• 제20권3호
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• pp.205-212
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• 2009

Through this study, I explored a creation of the postmodern furniture aesthetics through the transformation by student's interpretation in experiencing the art/craft/handmade/studio furniture aesthetics in postmodernism theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. Following the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor and the lesson two on interpreting an aesthetics of art and everyday life with the wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism in the previous papers, I developed lesson three on creating an object using eco-friendly materials like wood in transforming an aesthetics of postmodern furniture as the final stage of the study. Therefore, the students will be able to create a piece of eco-friendly wood furniture for our environment as metaphor transformed by his/her perspective regarding a piece of selected New Design furniture.

• 한국실내디자인학회논문집
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• 제27권3호
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• pp.108-115
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• 2018

The atmosphere is a popular word in everyday life. There is often an atmosphere when we enter a particular place. As if to say, The mood is perceived as an emotional and subjective word. Atmosphere is subjective and there are different feelings, but there are definitely certain feelings that people can relate to. The researcher examines the question in the paper and analyzes how the atmosphere in the space could be explained. So I will research about $B{\ddot{o}}hme^{\prime}s$ aesthetics which is called atmosphere. and analysis how his atmosphere is applied in nowadays art. So this study has two purposes. First is the notion of the atmosphere, not the atmosphere of rational perspective, it's about emotional and perceptual experiences. Therefore a connection about audience and arts is the most important focus in atmosphere. So the other purpose is Olafur Eliasson's Atmosphere. he is an artist about this perception. His work requires spectator intervention and participation to make it a perfect art. There is also a element in Eliasson's philosophy, in which the perceptual experiences of visitor's relationship between the work and the viewer, and eliminates the boundary as a perceptual expression.

• 복식문화연구
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• 제7권3호
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• pp.93-107
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• 1999

Elderly population of Korea has been significantly increasing, therefore, social and economical influence of the elderly people has been increasing, too. Recently, research regarding elderly people is important because many elderly men take care of their appearance and clothing, and clothing plays an important role in everyday life. The purpose of this study is to investigate the clothing behavior of men aged 55 years and older who were residents of Seoul. The data were collected with a interview and self-administered questionnaire at various places. The importance of various factors on clothing behavior is different. 2. Age has a negative relationship with conformity, but a positive relationship with aesthetics and satisfaction of clothing. Allowance has a positive relationship with all clothing behaviors factors excepts conformity. 3. Life satisfaction has a positive relationship with education and allowance, also, life satisfaction of occupation group is higher than no occupation group is higher than no occupation group. 4. Appearance satisfaction has not a significant relationships with age, but, has a positive relationship with education. 5. There are positive relationships between not only life satisfaction and clothing behavior factors, but also appearance satisfaction and clothing behavior factors except conformity.

• 복식
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• 제47권
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• 패션비즈니스
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• 제23권1호
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• pp.103-115
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• 2019

In this study, we provided examples of light emitting diodes (LEDS) in everyday sportswear and confirmed their usefulness to provide functionality, aesthetics, and entertainment. One type of sports jacket and one set of sportswear were designed and manufactured using LEDs and made available to the general public for use in daily life to provide functionality, aesthetics, and entertainment. To generate digital images, a textural design of a circuit image was developed and applied, and the LEDs were placed on the developed textile in an attempt to merge the LEDs with the design. The product was equipped with a tilt sensor and produced a randomly lighted jacket with LEDs that adjusted according to movement. The LEDs turned on in the desired location by lifting the arm during night sports activities. The tricolor of NEO PIXEL LEDs lit randomly and its rhythmical design could be maximized when moving or exercising outdoors, and also for entertainment. The role of creating interest for lively and unexpected pleasures and the aesthetic beauty of LED lights were also obtained. There was no inconvenience or restriction of movement by LEDs or internal structures using the hot-melting technique, and the removable attachment of the device made it easier to wash.