• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1241-1252
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• 2009

This study is on the internal and external characteristics along with the phenomena of dress and ornaments expressed in them by analyzing Re-orienting Fashion (which is a system of signs and symbols) based on the theories of semiology in the search for the Korean identity by examining a Re-orienting Fashion that is being reinterpreted. Re-orienting Fashion performs the role of signs that act in the spread of Oriental culture through the globalization of traditional dress and ornaments in the Orient. It also has a meaning that converts the world of fashion to a new direction. When analyzing the system of signs and symbols in Re-orienting Fashion (based on the theories of semiology) the conclusions are that an eclectic symbol system has been formed by the combination of the pursuit of modernization in traditional dress and ornaments with post-modernism. A nature-friendly symbol system has been shaped as a natural silhouette in terms of the combination with Eastern philosophy that searches for a harmony with nature according to ecological trends. The ideal of a symbol system means the introduction of design elements in traditional dress and ornaments of the East as a rejection of Western civilization and as an alternative to the fixed pattern of the West.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.59-66
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• 2010

The purpose of this study is to examine how the perception of lives and studies in the Joseon Dynasty period, and the concept of its sculptures can be reflected in Korean traditional pavilion place, from the perspective of Nomadism as a western philosophy of this era. Nomadism literally refers to way of life of peoples who do not live continually in the same place but move cyclically searching for temporary centres whose stability depends on the availability of food and water supply or pastures for their livestock. In recent years, the term encompasses three general types: job nomads, digital nomads and ubi-nomads, which represent distinct features of modern society. Its concept implies looking for the new creative possibility through the liberation of desire and the breakaway to another thinking through continuous formation and transformation. Likewise, Korean traditional pavilion is the architecture to take a quick rest while walking in the mountains. This open place thus connects surroundings with people who are allowed to assimilate with nature as well as train their mind by following the law of nature, in order to finally reach the celestial state of mind. Knowing how to see, enjoy and appreciate the arts very close to nature, our ancestors were able to learn aesthetic activities. After recognizing Korean traditional pavilion as the potential place of unification of heaven and men which is Korean scholor's lifestyle and outlook on the world, this study accordingly will identify the value and meaning of Korean traditional architecture according to Nomadism in the occidental point of view.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.25-32
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• 2009

To the human being, the space as the objective for fundamental thought called 'Being', and the space as the place for actual experience containing 'Life and Experience', have coexisted. Such dual characteristics owned by the space have come to the present creating various spatial viewpoints. As for the space as the objective for various thoughts and interpretations, its emphasis is nowadays being moved to the existence from such being. There is the event in the core of such change. Human's recognition for the space is originated from the observed events, which appears as an immense meaning, as it 'is accumulated as the experience. Therefore, the importance of the event in another viewpoint thinking the space is becoming bigger. This research has tried to grasp the tendency for the place-orientation by grasping the meaning owned by the event through the course that the viewpoint for such space has been changed. This research put its focus on clarifying the relationship between the place and event that are brought into relief by tracking down the transitional process of the viewpoint of space in the history of Occidental philosophy. Through this process, this research came to have a grip on the relationship in which a sense of place obviously stands out in bold relief as a result of an event, an emblem of an event, condition of an event, and as an event itself. Such four patterns are not mutually individual phenomenon, but form a discourse on modern space by traversing each other crisscross.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 1995.04a
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• pp.185-192
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• 1995

A common control model used to implement computer integrated manufacturing(CIM) is based on the hierarchical decomposition of the shop floor activities, in which supervisory controllers are responsible for all the interactions among subordinates. Although the hierarchical control philosophy provides for easy understanding of complex systems, an emerging manufacturing paradigm, agile manufacturing, requires a new control structure necessary to accommodate the rapid development of a shop floor controller. This is what is called CSCW(computer supported cooperative work)-based control or component-based heterarchical control. As computing resources and communication network on the shop floor become increasingly intelligent and powerful, the new control architecture is about to come true in a modern CIM system. In this paper, CSCW-based control is adopted and investigated, in which a controller for a unit of device performs 3 main functions - planning, scheduling and execution. In this paper, attention is paid to a planning function and all the detailed planning activities for CSCW-based shop floor control are identified. Interactions with other functions are also addressed. Generally speaking, planning determines tasks to be scheduled in the future. In other words, planning analyzes process plans and transforms process plans into detailed plans adequate for shop floor control. Planning is also responsible for updating the process plan and identifying/resolving replanning activities whether they come from scheduling or execution.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.29-47
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• 1998

The aim of this study is to understand the original methods of architectural composition in F. L. Wright's works, For this purpose, the principal thoughts based on his organic architecture was examined over all others, and the results of this study are as follows. 1. F. L. Wright knew Taoist Philosophy, especially Lao-tzu's thought about space based on traditional oriental arts included traditional japanese arts by his superior intuition. this is similar to Froebel Thought in the principal theory, that is, his own unique field of abstract architectural education with three-dimensional geometry learned through Froebel Gifts. 2. Space is reality ; such Lao-tzu's thought, reversed the sense of values, influenced F. L. Wright's way to accomplish his own continuous space. that is to say, he attempted taking precedence of spatial organization by the unit of three-dimensional module made the substance, Froebel Blocks (3, 4, 5, 6 Gifts) into non-substance, and trying to do the methods of continuous liberal composition in architecture. which is his original accomplishment, namely his mentioned 'democratic' because of judging the space and the mold of architecture as individualities. 3. F. L. Wright treated the space as a positive entity, so that he created his own architecture organically combined with spaces and forms. : This was the result that he comprehended both formative, physical worth in West and spatial, non-physical worth in East as equivalence. It is understood that F. L. Wright's works combined with East and West are the significance of his architecture and the progress of true internationalities and modernization in modern architecture. 4. From the analyses of his works, we knew the fact that F. L. Wright's architecture, especially in the spatial organization were performed by the reasonable methods with geometric system of Froebel Gifts. In the observation of our fundamental way of thinking on his architecture, this study shows the necessity to let us get out of preconceptions and conclusions that the organic architecture is mysterious and difficult, but to systematize and put his organic methods to practical use.

• Journal of the Korean Institute of Rural Architecture
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• v.17 no.1
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• pp.83-94
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• 2015

The area of domestic urban design and architecture has established its original characteristics as various programs and functions were created in the drastically changing society. Such features have been presented in a certain type of patterns or unique formations, which demand a gradual development of designs in harmony with the functions and roles of the city and thus designers are forced to continue thinking deeply on this matter in their own perspectives. In particular, such demands are outstandingly high in reality in historical cities such as Andong, which this study works on. As the design contest winner is based on the geographical characteristics and locality, Confucianism and seonbi(Korean classical scholar) spirit, which are regarded as a philosophy of value, how the traditional concepts could be reflected in the plan was the focus of the discussion. The conclusions deduced from such a background include the following. First, it is necessary to make an approach on the basis of the concept in traditional architecture at the complex planning level based on the ideology in the implementation plan that requires traditionality for a complex design with contemporary functions. Second, it is important to approach this as an exploration of a solution to globalize Confucian culture in the future based on the cultural characteristics of the region and the environmental characteristics of the surroundings. Third, beginning from a concept that explains the complex to a concept that explains individual buildings, it is necessary to reflect characteristics in which the realization of a traditional space is planned in three dimensions.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.26-43
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• 2010

The inflow of digital technology into the art, especially in the Fashion Illustration since 1990, makes the new aesthetics of the beginning of the 21 century which the Software aesthetics can be called. The meeting of technology and the art make us recall a great scientist and artist, Leonardo da Vinci in the Renaissance that the notion of the art and skill was unified, same as the ancient history. This study is purposed to expand the concept of the art for the broad exchange of the digital technology and art and for the extensive expression method of the modern fashion illustration. Having views on science theory of the beginning of the 20 century, Theory of Relativity which had given a lot of influence in the philosophy, the litterature and the art, as well as all the science, it makes a connection with the history of art in the beginning of the 20 century and the story of the digital art in the beginning of the 21 century. Firstly, the Fauvism and 2D is based on the expression of the glowing and bright color by the Principle of constancy of light velocity. Secondly, the Cubism and 3D is associated with the Special theory of relativity in the cyberspace which the space and the time are totally accorded. Thirdly, the Futurism and 4D is compared with the General theory of relativity which contains the material and the gravity. They are gradually evolved into the Interactive art and the Kinetic art by the digital technology in the profound cyberspace.