• 패션비즈니스
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• 제12권3호
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• pp.62-71
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• 2008

Costume elements are closely related with human living environment and also play an important role in the costume patterns. The East and the West have influenced and adopted each other's culture through mutual trade, which are well reflected in costume patterns and textile patterns. These days world wide fashion shows the designs applying costume details of the East and the West, which is much affected by the orientalism. The purpose of this study is to compare the sleeve patterns which take an important part in women's costume design of the Joseon Dynasty and the European Monarchy in the 16th century. Korean women's costume showed sleeves in rectangular shape with same width and long length, together with cuffs. Later they changed to diagonal shape of getting narrower toward the wrist. Western women's costume showed sleeves with puff and slash patterns. Then they were classified into French, British and Spanish styles which were getting narrower toward the wrist. Later they adopted the shape of leg of mutton which was puffed in middle and narrower toward the wrist. I n Korea and Europe, they showed respective changes in sleeve patterns, but also similarity of getting narrower toward the wrist. The East and the West are now exchanging their culture in every aspect such as politics, economics and social matters. Costume fashion is not an exception. The characteristic designs of traditional costumes are shown on global fashion, which is influenced by the orientalism.

• 패션비즈니스
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• 제26권6호
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• pp.47-63
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• 2022

This study aimed to examine the changes in women's fashion, focusing on the repercussions that bicycles had on women's life and fashion, centered on France in the 19th century, and then it examines the significance of the period to women's cycling clothing and its contribution to fashion. The research is based on literature and visual materials extracted from 19th century French newspapers, magazines, and posters. As a result of this study, the appearance of bicycles in the 19th century contributed to fashion as follows. First, the need for clothing suitable for outdoor activities promoted development of new designs with practical and functional features. Second, the clothing worn by female cyclists contributed to the introduction and propagation of new clothing, and pioneering wearing trousers. Third, the boom of bicycles in the 1890s led to the expansion of ready-to-wear items in department. The significance of the period to women's cycling clothing in the 19th century France is as follows. First, the era challenged customs and attitudes towards women's bicycle clothing and led to modernization. Second, a new and reasonable clothing design was presented that required a compromise to be accepted by the public. Third, although the clothing reform movement was not active in France, bloomer-style bicycle clothing was popular among fashionable women in Paris, revealing only its visual status as the capital of fashion in the 19th century.

• 복식
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• 제65권1호
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• pp.30-45
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• 2015

This study summarizes the dissemination aspects of liturgical vestments in Korea, and organizes the value and meanings of these disseminations as it appeared in the history of costumes by carrying out an empirical analysis on the relics of liturgical vestments since the modern times. It also examines its design characteristics as well. Liturgical vestments have symbolic meaning for the purpose and solar term of ceremonial occasions and it also functions as a way to differentiate the position and duty of the clergy. Liturgical vestments developed on the basis of ancient Greek-Roman costumes and transformed each situation and social trend of the age. Korean liturgical vestments started with their traditional costumes, in 1887, it were changed into French(western) style with freedom of religious. After the secondary Vatican Council held in 1962, various regulations were changed to spread the Catholic doctrines and ideology. This study conducted an empirical analysis and design consideration on the 28 relics of modern liturgical vestments on the basis of the foregoing standard and concept. As a result of analysis, relics were investigated as research materials worn by Bishops after 1960s. And design elements are that the relics used materials and ornament of Hanbok with flower patterns and decoration such as letter patterns including 壽(life) 福(luck) 喜(pleasure) as well as Chrysanthemum and Mancaowen design. These transition reflected by amend regulation of Vatican Council II. Accordingly, this data has been confirmed to be important for the history of costumes as it informs what process of changes liturgical vestments spread in Korea went through before they are worn as current appearance.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.21-30
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• 2012

Interior space of modern society has a request for non-functional considerations as well as a need for function. French sociologist Jean Baudrillard defined this phenomenon as a dialectical relationship between the functional system and the non-functional system in his book "The System of Objects". The main goal of interior design is the pursuit of non-functional aspects which can satisfy emotional needs of human being without ignoring functional side. This means that designer should exceed the limitation of the functional system and overcome it by his own idea and method. Under this recognition, this paper tried to understand how Shiro Kuramata and Takashi Sugimoto accomplished the overcoming successfully. Sugimoto breaks through mechanical monotony introducing the non-functional objects into the functional system. His objects have power and form of the nature. They also shows traces of manufacture and labor. They works as media transferring old life and values. Sugimoto sometimes adopts the non-functional system such as collection, so it reveals time of collecting and arrangement of various objects. In contrast to Sugimoto, Kuramata erased the form of functional object and turned over the everydayness of the functional system. Instead, aesthetical phenomena substitutes form. Having doubts about the geometrical order of functional system, he opened a discourse for its meaning and limitation. However they have something in common which works as a blueprint for establishing subject's discourse. This discourse is comprised of their own memories of scenes. These subjects' discourse institute worlds through their design works based on each methodology. From the Heideggerian point of view, the worlds offer a foundation which allows the establishment of art in interior design.

• Nuclear Engineering and Technology
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• 제50권2호
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• pp.223-228
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• 2018

AREVA NP (Courbevoie, Paris, France) is actively developing several enhanced accident-tolerant fuels cladding concepts ranging from near-term evolutionary (Cr-coated zirconium alloy cladding) to long-term revolutionary (SiC/SiC composite cladding) solutions, relying on its worldwide teams and partnerships, with programs and irradiations planned both in Europe and the United States. The most advanced and mature solution is a dense, adherent chromium coating on zirconium alloy cladding, which was initially developed along with the CEA and EDF in the French joint nuclear R&D program. The evaluation of the out-of-pile behavior of the Cr-coated cladding showed excellent results, suggesting enhanced reliability, enhanced operational flexibility, and improved economics in normal operating conditions. For example, because chromium is harder than zirconium, the Cr coating provides the cladding with a significantly improved wear resistance. Furthermore, Cr-coated samples exhibit extremely low corrosion kinetics in autoclave and prevents accelerated corrosion in harsh environments such as in water with 70 ppm Li leading to improved operational flexibility. Finally, AREVA NP has fabricated a physical vapor deposition prototype machine to coat full-length cladding tubes. This machine will be used for the manufacturing of full-length lead test rods in commercial reactors by 2019.

• Steel and Composite Structures
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• 제47권2호
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• pp.147-165
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• 2023

The paper contrasts conventional seismic design with a design that incorporates buckling-restrained bracing in three-dimensional reinforced concrete buildings (BRBs). The suboptimal structures may be found using the multi-objective chimp optimization algorithm (MEN-ChOA). Given the constraints and dimensions, ChOA suffers from a slow convergence rate and tends to become stuck in local minima. Therefore, the ChOA is improved by niching and evolutionary operators to overcome the aforementioned problems. In addition, a new technique is presented to compute seismic and dead loads that include all of a structure's parts in an algorithm for three-dimensional frame design rather than only using structural elements. The performance of the constructed multi-objective model is evaluated using 12 standard multi-objective benchmarks proposed in IEEE congress on evolutionary computation. Second, MEN-ChOA is employed in constructing several reinforced concrete structures by the Mexico City building code. The variety of Pareto optimum fronts of these criteria enables a thorough performance examination of the MEN-ChOA. The results also reveal that BRB frames with comparable structural performance to conventional moment-resistant reinforced concrete framed buildings are more cost-effective when reinforced concrete building height rises. Structural performance and building cost may improve by using a nature-inspired strategy based on MEN-ChOA in structural design work.

• 건축역사연구
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• 제9권2호
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• pp.85-100
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• 2000

This paper is a study of the Beaux-Arts discipline of architecture, as it was established during the late nineteenth century in America. It focuses on trio particular modes of vision and representation that were at the heart of the discipline. The paper argues that Beaux Arts vision was centered on what may be called 'planar vision'; a mode of seeing through which the multiple aspects of the architectural design imbedded in the plan were read and re-interpreted. Similarly Beaux-Arts training in drawing required its student to draw within the multiple layers of historical traces; the new design being in effect a new layer placed on often unseen traces of monumental precedent. The theoretical basis of this practice was not based on history but on the concept of composition. Composition, in the French tradition was regarded more a matter of practice than theory. The Anglo-American discourse on composition, on the other hand, formed a body of theoretical literature based on formalist assumptions. There was, however, a fundamental gap between these formalist theories of composition and the 'layered' modes of vision and drawing involved in the design process. This practice leaned more on the modern romantic notion of 'intuition' for its theoretical basis, once again forming an immanent conflict with the mimetic practice of classical and historical architecture. The paper draws a picture of a discipline centered on a 'theory of the plan,' a potentially modern discipline integrated with classical forms and details. It was clearly effective as a practice. However, structured by conflicts between theory and practice, history and form, mimesis and intuition, the Beaux-Arts was unable to defend itself at the philosophical and theoretical level the modernists engaged their attacks on this system. At the same time, the paper poses the question of how different modern architecture is from this system. Is not the 'theory of plan,' in its many transformations and guises, still the central discipline of twentieth century modern architecture, and is it not structured by basically the same kind of conflicts and paradox that were immanent to the Beaux-Arts system.

• 한국실내디자인학회논문집
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• 제20권5호
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• The International Journal of Costume Culture
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• 제2권2호
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• pp.45-59
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• 1999

The objectives of this study were to identify fashion trend in the late 1990's by using content analysis of the design elements of wedding dresses in wedding magazine photographs. The data were selected among the wedding dress photographs in 1997 issues of two wedding's magazines, 'My wedding'and 'She's Bride'. The identified 455 photographs were classified into 15 major-categories of silhouettes, necklines, sleeves, materials, and trimmings, etc. 15 major-categories were consisted of 232 sub-categories. In the late 1990's, fashion trends of wedding dresses have mixed mainly dome silhouettes(56.0%), bell silhouettes, and tubular silhouettes. One-piece forms(90.8%) were familar more than two-piece forms. Necklines were used mainly such as square neckline(14.0%), high necklines(13.0) blended with other off-shoulder necklines, heart-shape necklines, and sweet-heart necklines, etc. Also camisole and strapless were added in neckline. Long-tight sleeves dominated at the late 1990's because that were used most (21.1%) among 22 sleeves sub-categories. And short sleeve, ruffled below-elbow length sleeves, and french sleeves were also used with the other sleeves. Long length in skirts(98.4%) were common but mini length were used rarely. Satin, lace, and solid cloth were the main materials in wedding dresses, however, spandex and velvet were also used. Various trimmings such as flowers(corsages), ribbons blended with embroidery, small flowers, buttons, frills, strings, and fur trimming are used. Especially, flowers used most(11.8%) among 61 trimmings sub-categories. But simplicity was shown in trimmings because there were dresses not having any decorations(14.3%). The wedding dress of the late 1990's has become more varied in design due to the reflection of changes in society and fashion of everyday garments while the traditional design of the wedding dress has been preserved.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.