• 한국의류학회지
• /
• 제41권1호
• /
• pp.71-83
• /
• 2017

This research suggests a new idea conception method for creative thinking to develop a creative fashion design. The common characteristics of the design area, the unique characteristics of the fashion design, and idea conception method for creative thinking were analyzed and reviewed to develop a creative fashion design research model. Based on this, the fashion design research model was planned through an attempt to graft a new idea conception method on an existing method to utilize the advantage of it suitable for fashion design characteristics and designated as an idea conception method for a creative fashion design research model. We developed 10 designs with a full awareness of the research model steps; subsequently, the effectiveness was confirmed through the evaluation phase of the research model that utilized the idea conception method. This research has significance in that the research model utilizing idea conception method that rarely addressed in precedent research was developed with the idea conception method as a research subject by drawing the characteristics for an idea conception of fashion design and new approach was tried that emphasized the advantages of the existing method.

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2004년도 추계 학술발표대회 논문집
• /
• pp.228-229
• /
• 2004

• 디자인학연구
• /
• 제20권
• /
• pp.185-196
• /
• 1997

광고디자인에서 비 주얼 아이디어를 구할 때, 기존의 발상법이 여러 가지가 있지만 활용도 및 만족도가 떨어지는 경향이 있다. 또한 섬 네일 스케치 단계에서 그림 요소로만 아이디어를 구하는 경향이 많아 기존의 자료문헌에 대한 의존도가 높아 근본적인 독창성의 추구에 문제점이 있을 수밖에 없다는 것이다. 아울러 디자이너와 카피라이터의 공용의 발상법이 있다면 매우 효과적이라는 배경 아래 언어 지향적인 접근 방법을 통해 광고 인텔리 전스의 논리적 체계를 유지하며 동시에 창의적 시각화가 용이한 압축·확장 법이라는 비 주얼 아이디어 발상법을 제안하고자 한다. 압축·확장 법은 광고 인텔리 전스((Intelligence)에 의한 소구내용을 문장과 구절을 경유하여 단어로 압축한 다음 그 단어에 대한 다양한 베리 에이션을 전개하고 그 결과 중에서 가장 독창적인 단어를 골라 구절과 문장으로 확장한 결과를 바탕으로 섬 네일 스케치에 들어가는 발상법이다.

• 복식문화연구
• /
• 제2권2호
• /
• pp.415-443
• /
• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• 한국실내디자인학회논문집
• /
• 제23권5호
• /
• pp.67-75
• /
• 2014

Architecture is not only coming out of the making of a building room but also contributing to the making of an urban room. "The inside is not a contradiction of the outside...architecturally opened". (De Carli, 1967) The urban room is felt as a sense of rapport between building and city because architecture makes the building room closed simultaneously open toward the city. Architecture exists between both rooms. There is the possibility of integrating, by the conception of interior, architecture and urbanism and thus, the possibility of giving a theoretical ground to Interior Architecture/Design; "all architecture is interior architecture". (Ottolini, 1996) It is in line with the idea of the "Fusing: Landscape/Urbanism/Architecture". (Holl, 2009) The paper deals with, through literature review, a possibility of the fusing: Interior/Architecture/Landscape/Urbanism. The first site explores the meaning of the urban place as a thing, which gives a possibility of combining the building interior and the urban interior. The second site illustrates the idea of the urban interior for dwelling. The urban interior is definitely a place of dwelling to keep human inhabitancy, which takes place in a united interior of the building interior and the urban interior. The third site clarifies the idea of the urban interior. While the building interior gives human being with the private stage, the urban interior provides him with the public stage of city life. The two different interiors constitute an interior world for his trajectory of dwelling. The last site traces the conceptual development of the urban interior. The trace comes to a conclusion that architecture, landscape, and urbanism can be unified by the conception of interior and the urban interior is an object of "Interior Architecture/Design". This paper is theorized as a twofold singular of the building interior and the urban interior. Ultimately, it is relevant to the theoretical principle of fusing interior/architecture/landscape/urbanism, and aims at offering a departing point to consider the urban interior as an object of "Interior Architecture/Design" and for the future studies of the urban interior.

• 건축역사연구
• /
• 제12권4호
• /
• pp.27-48
• /
• 2003

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

• 복식
• /
• 제57권2호
• /
• pp.190-201
• /
• 2007

The purpose of this study Is to reinterpret sexuality represented in modern fashion with the conception of plural sexuality from post-structuralism in socio-semiotic approach. It consists of two parts.: The first part provides the theoretical background and the methodological framework of this study. The second part ultimately accomplishes this study by empirical research, which is to infer plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and sexual ideology signified in modern fashion. In this part the theoretical background was focused on the conception of sexuality on the basis of Foucault's idea, and then the framework for this study was made up from socio-semiotic perspective. The conception of sexuality in Foucauldian post-structural idea maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. Socio-semiotics suggests a contextual methodology to analyze the phenomena of material culture by articulating the range of material objects with that of ideology. The socio-semiotic model applied to sexuality represented in fashion is the framework of classifying into the several versions of fashion images from fashion as a material object and then inferring sexual ideology codified in them. In addition, three stages of producer/object/user in socio-semiotics were revised into 'dominant sexuality' with mainstream fashion out of dominant discourses,'oppositional sexuality' to create anti-fashion from oppositional discourses of subculture, and 'alternative sexuality' to be appropriated to dominant discourses by the mix of mainstream fashion and anti-fashion.

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

• 디자인학연구
• /
• 제12권3호
• /
• pp.29-40
• /
• 1999

Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

• 한국의류산업학회지
• /
• 제10권6호
• /
• pp.848-856
• /
• 2008

In today's world where a preference for prestigious brands prevails, it's essential to have creative design conceptions rather than try simple mimicking or following in order to be recognized for creative and objective design works. In that sense, the development of clothes design using construction lines offers a great approach towards the ideas of reinterpreting and creating new designs since it creates new forms by understanding lines as signs of conception and transforming them. That approach allows a designer to improve his or her imagination, creativity and expression in a freer and richer manner, think of many original ideas through diverse changing processes, and develop the skill to visualize the ideas by incorporating geometric forms of abstract lines into clothes. When approaching the conception of clothes design from the standpoint of construction lines, you need to adopt more specific and systematic design methods instead of vague imagination to introduce simple facts or theories to a new design process. That's one of the ways you can approach clothes design easily and enhance your conception skills. The process of clothes design according to the conception of construction lines is composed of the following stages; the preparation stage involves an understanding of the principles and the entire process of clothes design conception based on construction lines; the idea stage requires a designer to make free alterations of the given basic construction lines by moving and replacing the lines and sides in diverse ways; in the creation and expression stage, the designer uses the newly reconstructed construction lines to create clothes design; and in the evaluation stage, the designer makes a presentation of his or her subjective design works and has his or her works assessed and tested in an objective fashion. In today's modern society that demands new and original globalized design, the results of the study will help to invigorate the development of new fashion design in a more systematic and practical manner by suggesting a feasible and gradual educational program for the development of design based on the technique of construction lines.