• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.138-145
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• 2012

The epidermal color is one of factors the space for ages. Instead of the epidermal color expression, it made with material and decoration under structure for make shade of meaning before have the new media. But now a days, the epidermal color of the fashion store is getting free owe to the development of color harmony, has a great notion that gets out of the subordinate from color, and it is a emphasized factor with expression and self-control. The epidermal color of the fashion store makes an effort to accept the development and changing of new media. It should show that there role and function is changing constantly according to a new technology, and it gave a motivation for reanalysis about existence and expression of the epidermal color. The purpose of this research is that look around the feature of the epidermal color system, elements, and principle. Then contemporary fashion store is expressive characteristics of epidermal color. Using epidermal color is not common, we can find lots of the case with surface color, layer color, interface color, though. The paper reflects on the meaning and concept of fashion store which enables the application of expressive characteristics on space through advanced technology. Meanwhile, the features of epidermal color such as immateriality of process and communication can be inferred from case analysis.

• Journal of Physiology & Pathology in Korean Medicine
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• v.22 no.6
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• pp.1374-1377
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• 2008

The aim of this study is to explore the principle that the joints of the limbs belong to Five Phases in Korean medicine. According to the principle of I-Ching, Ha-Do provides the logic which could attach everything to Five Phases. Ha-Do is composed of the numbers from one through ten, and in order to explain the logic of Universe formation, it furnishes the method of transforming 'immateriality' into 'materiality'. If we apply formation theory of Ha-Do to the joints of the limbs, however, it could be understood that the trunk of body develops the appendages, which means Ha-Do suggests a logic that 'materiality' generates 'materiality' in this case. Therefore, it is not the Water but the Earth that occurs first in the appendages development in this theory, and the shoulder joints belong to the Earth. Following development should occur in order of Five Phases formation of Ha-Do ; that is to say, the elbow joints belong to the Water, the wrist joints belong to the Fire, the finger joints belong to the Wood, and the ends of fingers belong to the Metal.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.58-66
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• 2014

A desire to lightness of architecture has continued from the past to today. As Paul Virilio mentioned "The aesthetics of disappearance starts from a desire", the desire of architecture to lightness assumes the connection to hidden dimension of everything over the freedom of materials when it is related to the aesthetics of disappearance. This study assumes that the lightness of an architecture today can be interpreted by means of the aesthetics of disappearance. The lightness of an architecture is a concept for the potential possibility of an architecture. Therefore, it is to analyze the relationship by connecting the features of the lightness which is obtained from the examples of the Cartier foundation of Jean Nouvel and Seattle central library of Rem Koolhaas to the aesthetics of disappearance, that is, the disappearance of the materials, disappearance of the subjects, disappearance of the meaning and disappearance of physical. Based on these, it is also to prove the influence of the aesthetic of disappearance on the architecture as a social phenomenon of technology today.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.41-49
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• 2009

Contemporary design environment is formed with image-centered trend based on pluralism. In this point of view, enterprises' building lobbies are public places containing the equivocal meaning, actively utilizing light as a design element to express the image of enterprises' identifications. Light is an immaterial entity having unlimited possibilities and potentials on space. It also acts as media to activate spaces and create new images in connection with formative elements of space. This study is to figure out how lightings are expressed and affected the formative characteristics of office lobby spaces and activate the specific characteristics of spaces. As a result, we drew conclusions as follows. First, as state-of-the-art technology and media are introduced, light is expressed on spaces as floating, direction, rhythm, silhouette, metaphor and allusion, sense of depth and volume. Second, expressive aspects of light in lobby space are embodiment of light, substantiation of immateriality, standing of materiality from the perspective of spatial aesthetics, and distortion/transformation of shape, pluralism phenomena of space from the perspective of spatial structure. In this way, light on building lobbies which are greatly required design differentiation strategy, specializes space and also integrates all the designs as not only a functional element but also a mental, psychological, formative element. Consequently, light on lobby spaces induces communication between spaces and users, makes formative value of existence in itself, and presents the characteristics of differentiated enterprises' identities.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.83-91
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• 2014

As a applied art, Architecture is a synthetic art for dwelling and settlement. It has started with the origin of the human. and Artistical-technological indicator, include not only materiality but also immateriality such as history and society. After 20C, various categories of thinking is a undergoing rapid change. especially, beginning in 1900, The intrinsic value of "Fine Art" had lost their competitive power in the face of industrial revolution's mass production. and it has been displaced by a "new concept", such as a conveyance of meaning or rational way of thinking. This change means free from the tradition and custom of a past. for that reasons, Due to the nature of applied art, it always include design symbolism and designer's thinking is mainly processed in their own system of thinking. Symbolism for the art was distinguished from a general concept by the connotative meaning that called "the dual image". Therefore, at the start, this study will define about design and symbolism with a architecture as a applied art. then, Analysis the expression tendency of the contemporary architecture and modification. as a result, It aim to systematize mapping process and suggest the classification of various visual cue.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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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.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.125-133
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• 2014

While shifting from modern society to post-industrial society, social structure is changing from the period which pursues material affluence to that which pursues psychological abundance. Formation of various values along with pursuit of psychological abundance has made the illusion of standardization, massification, and popularization meaningless. Different from functionality oriented approach in the past, today's design requires diversified, multiple and integrated thinking and way in fast-changing social phenomena and stream, and lets human loose from the restriction of time and space thanks to technological development. It appears as new and various attempts along with paradigm shift of the wholle society, however the existing physical and actual things gradually transit to non-physical and non-actual things. Tendency of dematerialization has spread as far as esthetic and environmental genre on the basis of social and philosophical base along with change of consumption culture, and has displayed complex and de-genre aspect. Paradigm shift has expanded the range of communication by changing to user's independent awareness and sensitive concept, among them, light displays various changes of space by taking the role of new medium. Particularly, the light as the media expression beyond the phenomenon of light of traditional concept acts as an essential element to stimulate sensitivity and for experience as an immaterial element which shows this change of space most dramatically. This research aimed at recognizing space in complex dimension, exploring the relation between the light and space through media expression displayed in the realization of immateriality, expanding the meaning of light, and recognizing it as the possibility of creative and future-oriented light space creation which responds to technological development and social change.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.50-63
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• 2015

The purpose of this study is to explore the potential of digital graffiti as a new creative tool in fashion through analysis of its expressive features and methods merged in fashion. The results from the analysis of fashion cases using digital graffiti may be summarized as follows. First, 'Mixing of Materials and Non-materials' matched immaterial lights and images with physical clothing materials and space, effectively expressing imaginary spheres that were not expressible with the existing materials. Second, 'Fantastic Storytelling' expressed theme such as 'Sun', 'UFO', 'Science Fiction Film', 'Fantasy Fairy Tale', and 'Universe' through lasers, lights, augmented reality and LED graffiti. Third, 'Convergence with Human and Digital Media' accentuated the active participation of spectators thereby causing human and digital media to interact with each other. Designer's ideas and unexpected responses of spectators realized various digital graffiti effects, which came across by sheer chance. Fourth, 'Utilizing of Site-Specificity' met with the best results when the digital graffiti was expressed in context of a place or location where fashion performance is taking place. Fifth, ' Playfulness by Consumer Participation' intended to induce voluntary participation from consumers by providing the fashion digital graffiti as play tools, and created new fashion digital graffiti or altered existing stereotypes, thereby invoking new visual and tactile experiences. Likewise, today's digital graffiti are emerging in various fields, and the trend of fashion-digital graffiti integration has already created interesting works.