• 한국실내디자인학회논문집
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• 제23권1호
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• pp.88-95
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• 2014

This study intended arousal of other viewpoints that deal with and understand spaces and shapes, by describing the concept of 'dimensions' into visual patterns. Above all, the core concept of spatial dimensions was defined as 'expandability'. Then, first, the 'golden ratio', 'Fibonacci sequence', and 'fractal theory' were defined as elements of each dimension by stage. Second, a 'unit cell' of one dimension as 'minimum unit particles' was set. Next, Fibonacci sequence was set as an extended concept into two dimensions. Expansion into three dimensions was applied to the concept of 'self-similarity repetition' of 'Fractal'. In 'fractal dimension', the concept of 'regularity of irregularity' was set as a core attribute. Plus, Platonic solids were applied as a background concept of the setting of the 'unit cell' from the viewpoint of 'minimum unit particles'. Third, while 'characteristic patterns' which are shown in the courses of 'expansion' of each dimension were embodied for the visual expression forms of dimensions, expansion forms of dimensions are based on the premise of volume, directional nature, and concept of axes. Expressed shapes of each dimension are shown into visually diverse patterns and unexpected formative aspects, along with the expression of relative blank spaces originated from dualism. On the basis of these results, the 'unit cell' that is set as a concept of theoretical factor can be defined as a minimum factor of a basic algorism caused by other purpose. In here, by applying diverse pattern types, the fact that meaning spaces, shapes, and dimensions can be extracted was suggested.

• 복식
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• 제65권5호
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• 농업생명과학연구
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• 제45권6호
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• pp.21-32
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• 2011

본 연구는 20세기 초기의 서양 흔들의자를 분석하여 조형적, 실용적 관점에서 양식적 특징을 학문적으로 규명하고, 오늘날 우리나라 흔들의자의 설계 및 제작의 기초자료를 제공하는 것에 목적이 있다. 20세기 전반의 서양 흔들의자(1925~1945년 제작)는 형태가 기능을 따라야 한다는 단순한 기능주의의 이념을 적극적으로 표현하였다. 원목을 활용한 흔들의자는 표면장식을 배제하였고, 강철관 프레임의 흔들의자는 검정색 가죽의 업홀스터리를 즐겨 사용하면서 노출된 구조미를 대담하게 표현하였다. 또 강철관을 통하여 가구의 경량화가 이루어졌고 곡선미 있는 새로운 양식이 출현하였다. 근대 흔들의자의 구조는 양식과 기능적 이유에서 모두 중요하게 되었다. 디자이너들은 강철관과 목재 프레임의 노출된 구조를 통합성 및 합리성과 결부 시켜 디자인의 평등주의 스타일을 만들어냈다. 특히 이 시기에는 밝고 대담한 색상의 업홀스터리와 목재 프레임으로 구성된 흔들의자가 근대적 특징의 단순한 형태로 다양하게 표현되었다.

• 헤리티지:역사와 과학
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• 제56권4호
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• pp.24-37
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• 2023

본 연구는 2022년에 새롭게 보물로 지정된 앙부일구의 재질과 외형적 특징을 분석하였다. 국립고궁박물관, 국립경주박물관과 성신여자대학교박물관의 세 기관에서 소장하고 있는 보물 앙부일구는 그 재질, 규격, 형태(외형), 은상감 등 제작기법이 쌍둥이처럼 비슷하다. 이 세 점의 앙부일구은 구리: 아연: 납이 90.6: 6.0: 1.8의 비율인 황동으로 제작되어 있다. 이 성분비는 82.2: 3.7: 11.8의 조성비를 가지고 있는 보물 제845호 앙부일구와 분명한 차이를 보인다. 새 보물 앙부일구에서 반구의 받침부분은 용의 문양이 수직기둥에 그려지고 구름의 문양이 기둥의 날개를 형성하여, 반구 지평환에 각각 리벳과 은땜으로 결합되어 있다. 이러한 운룡주(雲龍柱)의 문양은 조선 후기 제작된 다양한 앙부일구 받침대 중에서도 가장 뛰어난 조형미를 보여주고 있다. 앙부일구에 새겨진 북극고도는 1713년 이후에 제작되었음을 알 수 있는데, 실제 제작은 19세기 진주 강씨 앙부일구 전문제작자의 활동 시기에 근접할 것으로 추정된다. 본 연구가 2022년 지정 보물 앙부일구의 재질과 외형적 특징을 분석함으로써 근대 과학기기의 과학기술사적 고찰을 견인할 수 있기를 기대한다.

• 복식
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• 제33권
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• pp.117-142
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• 1997

This study is on perfume case that is one of a great number of ornaments which was designed by out ancestors. We had developed the tradition and the history of perfume case bag fan-weight etc. These have the same function as the present perfume. case. There were basket-shaped perfume cases which were the smellest one among the personal girdle ornaments in the silla era. The various patterned perfume case were made of gold metal coral platinum or green jadeite etc. In the single-crop trinkets a embroidered perfume bag with the gold and silver thread whose forms perfectly match their functions appeared during the Yi Dynasty. There was also a perfume bag which was one of the daily necessities. A precious "jul perfume" was carried by noble women. A fan-weight perfume bag was attached to the fan to emphasize the intrinsic beauty of utility and function. It is necessary to know the function of prefume case. As perfume case is weared on the clothes it was given more decorative effects as well as the function of medicinal amulet with a sweet smell. Therefore it is very important for us to study perfume case that has various function as an ornament. So The purpose of this study is to investigate the practical and decorative side of perfume case with the general examines of perfume finding how to practice use through our life. The results were as follows; 1. The first use of perfume is perfume through smoke which is for ceremony of religion It removes human body odor by degrees and spreads a sweet odor. Also the materials for making perfume of early age is aromatic plants which will be used flour-made flowers stems. As the materials for making perfume use is increasing today we can invent alcohol perfume today 2. Our country the custom of perfume-used is wide. Among them men's perfume-used was very special phenomenon. For example men were wearing perfume bag in the Silla era. Because perfume represented wealth and noble in those days. They shew off social position personality through perfume-used. 3. One of early religion ceremony article there was the perfume. And perfume case was means for containing perfume. Gradually the perfume case was used widly as increasing needs of perfume in human life. 4. In the middle period of 'Koryo' Dynasty perfume cases had a close relationship with clothes but after Mongolian has been attacked 'Koryo' there were changes in wearing clothes therefore the position of perfume cases were transfered to coat string that was the origin of decoration style that they began. That is to say the perfume case has been influenced the position of perfume case shapes with changing of fashion. 5. The perfume case has been made manifest various function as an ornament. In the practical side First medical-perfume in perfume case has been played an important role in first-aid medicine in critical condition. Second it was amulet for self protection. That is the shape pattern color materials perfume of the perfume case was represented the amuletive nature. Third it was used as substitute article of perfume. Modern women use liquid-perfume as our ancestors used perfume case bag or jul perfume As started above. Also In the decorative side the perfume case has a beautiful formative arts by itself as well as a close relationship with clothes. That well as a close relationship with clothes. That is when the perfume case is worn on the clothes costume is showed aesthetices. That is the materials shapes color pattern of the perfume case we can see the visual beauty also the materials colors embroidered pattern knots tassel that are used the perfume case are increased the decorative beauty of costume. Sixth the symbol in pattern of the pattern case is shown ancetor's wealth and rank health longevity immortality many-born-boy in those days. Today the perfume case is not used with changing of costume by degrees, Accordingly I hope that the result of this study is an influened in devlopment of the perfume case design with matching the modern fashion.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.40-50
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• 2014

The purpose of this study was to investigate how brand identity expressional elements in cosmetic road shops' facades would affect the brand awareness of consumers while extracting those brand identity expressional elements observed in the facades of the cosmetic road shops. In order to achieve the research goal, the study used Q methodology, a method to measure subjectivity. The results have been summarized as follows. (1) The elements to express the brand identity found in the facades of the cosmetic road shops were observed to be two-dimensional expressional elements, and they should include a symbol, a logo, a signboard, materials to express an image (products, models) and a brand color. As for the three-dimensional expressional elements, they were a building (form, materials, pattern), decorations (lean-to roof, canopy, sculptures, lighting, screen) and a display window (focusing on products, visuality or the inside of a shop). (2) The findings of the analyses on the brand awareness using Q methodology have been presented as follows. (1) When multiple identity expressional elements which would be associated with each other are used, the brand awareness gets increased relatively efficiently. (2) In case of men, they would perceive a brand more easily through those formative expressional elements such as a form of a building. (3) In case of women, they would perceive a brand more conveniently through those visual expressional elements such as a brand color. (3) In conclusion, the study figured out that, among the brand identity expressional elements, the one which would influence the brand awareness most would be (1) the brand color, followed by (2) the building-form, (3) the lean-to roof, (4) the display window and (5) the logo. Based upon what has been learned so far, the study confirmed that when it comes to securing the brand awareness in the market, cosmetic companies should, first, realize how important it is to make good use of the two-dimensional (visual) expressional element, the brand color, and the three-dimensional expressional element, the form of the building, together before they even try to design facades of their shops on the streets.

• 한국수학교육학회지시리즈A:수학교육
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• 제59권2호
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• pp.101-112
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• 2020

본 연구의 목적은 문장제 이해 과정에서 교사와 학생 간의 상호 작용 양상에 따른 교사의 담론 구조를 분석하는 것이다. 이를 위해 학생들의 참여를 촉진하는 교수법을 다년간 실행해 온 경력교사의 한 학기 수업 중에서 문제 해결 과정을 대표할 수 있는 수업 4차시를 추출하였다. 4차시 수업에서 교사와 학생 간에 중요하게 생각하는 부분에 대한 일치 여부에 따라 교사 담론의 구조는 어떠한 특징이 있는지를 분석하였다. 분석 결과, 교사와 학생 간의 상호 작용 양상에 따라 문장제에서 중요하게 생각하는 부분을 협의하고 수학적인 의미를 만들어 가는 교사 담론의 구조는 학생들의 수업 참여를 촉진함으로써 문장제 이해에 도움을 주는 것으로 볼 수 있었다. 교사와 학생 간의 상호 작용 양상에 따라 학생들의 문제 이해를 위한 교사 담론의 구조를 바탕으로 향후 교사들이 문제 이해를 위해 학생들과 어떻게 소통해야 하는지에 대한 구체적인 방법론을 제공하였다고 볼 수 있다.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 한국의상디자인학회지
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• 제5권1호
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• 복식
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• 제55권1호
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.