• 한국가구학회지
• /
• 제24권2호
• /
• pp.113-120
• /
• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 한국과학교육학회지
• /
• 제11권1호
• /
• pp.117-126
• /
• 1991

The new movement in science education in America and Europe has been heavilly oriented into technological and soceital aspect of science since 1970. However, this spirit has not been well informed in Korea and not adapted in science education. This paper aimed to arouse Korean science educators attention to everyday situation as a science education context. In this paper, the discipline centered science education was briefly reviewed and problems related to the philosophy was pointed out. At the same time the researcher introduced STS context as a science education objective, and elaborated the three elements(physical situation, technological situation. and societal situation) of the context. In the paper, the advantages of the use of everyday context in science education were examined. THe advantages were analysed in terms of the nature of science, learning psychology, integrated science, and societal aspect of science education. The paper also suggested the criteria to select teaching materials from STS context. The suggested criteria were the degree of science concepts involvement, frequency of experience, strength of experience, and possibility of direct experience.

• 동양고전연구
• /
• 제49호
• /
• pp.39-71
• /
• 2012

본고는 여헌(旅軒) 장현광(張顯光)의 학문 체계 내에서 그가 구체화시켰던 문화의식에 초점을 맞추고, 그 기저가 되는 인문 정신, 문화 의식과 연관된 그의 국토 인식 및 우리 문헌 자료에 대한 그의 특징적인 논의와 실천의 모습을 검토한 것이다. 그리고 이 논의의 출발점은 최근 역사학계에서 여헌의 학풍을 둘러싸고 제시된 엇갈리는 평가에 기초한다. 여헌은 문화와 관련된 기본적인 인식 체계로서 인문 정신의 구현에 주목하였다. 그는 '도(道)'의 가시적이며 현상적 대상이 '문(文)'임을 제시하고, '도'와 '문'의 불가분리성을 제시하고, 인문의 실현이 천문(天文)과 지문(地文)을 구현하는 요체임을 강조하였다. 특히 그는 인문의 실현 주체로서 인간의 역할과 책임을 강조하였으며, 인간이 실현해야 할 인문의 내용을 '도덕의 실천'으로 규정하였다. 인간이 일상에서의 행위로부터 사회 윤리와 교화의 규범, 그리고 천지만물의 화육(化育)에 이르는 것이 모두 인문의 내용이라 이해하였으며, 이러한 내용이 육경(六經)에 온전히 담겨 있다고 보았다. 여헌은 인문 정신의 실현이 도덕의 실천임을 강조하면서, 우리 문화에 대한 관심 또한 놓치지 않았다. 그는 인문 실현의 터전으로서 지문(地文)에 대한 이해를 우리 국토에 대한 인식과 결부시켜 형세(形勢)를 중심으로 국토를 파악하고, 중국과 비견되는 '소중원'이라 규정하였다. 긍정적인 국토 인식 하에서 우리 국토에서 배태된 우리의 풍속과 문화가 중국에 결코 뒤지지 않음을 제시하였다. 나아가 그는 우리 역사 속에서 드러난 문헌에 대한 애착을 구체적인 실천으로 이끌었다. 그는 우리 문화를 이해하고 보존해야 한다는 의지를 그의 문인인 김휴(金烋)를 통해 우리나라 최고의 도서 해제집 "해동문헌총록(海東文獻總錄)"으로 구체화하였다. 이 책의 편찬 작업이 전란을 거치면서 피폐해진 현실 상황에서 우리 문화유산을 정리하고 보존해야 한다는 의식 하에서 이루어졌다는 점에서 '국학정신이 앙양된 결과'라고 평가할 수 있다. 위와 같이 여헌은 인간 도덕에 대한 자각과 실천을 바탕으로 인문세계의 실현을 누구보다도 강조하였고, 이러한 생각과 의지는 우리 국토와 문화, 그리고 문헌에 대한 관심과 애정으로 이어졌다고 할 수 있다. 유학 전통의 도덕 실천을 강조하는 그의 인문 정신은 인간 도덕의 보편성에 대한 확신이자 실천 의지로 이해되어야 하며, 그가 보여주었던 우리 국토와 문화에 대한 긍정적 인식과 실천적 지향은 비록 중국과 비교되는 차원에서 제시되었지만, 중국에 대한 추종이라기보다는 우리 문화에 대한 자부심으로 평가되어야 할 것이다.

• 복식
• /
• 제55권4호
• /
• pp.29-37
• /
• 2005

Beauty Art is an act which makes a face beautiful using various methods such as permanent, manicure and make-up. Recently, Beauty Art is recognized as the personal culture expressing the value of beauty and spirit. Therefore, there are growing interests in the comprehensive study of Beauty Art nor only from the beauty industries but also from academia, because Beauty Art is the high value-added field and Is recognized as a style of the dress. The purpose of this study is to open a new view to understand the Nail Art as a fold of experimental plastic art. The arctic expression is added to Beauty Art to develop it from the routine technique of the make-up and hairstyling to creative art. Assemblage is adopted to provide Beauty Art with fine harmonious expression which develop Nail Art into interesting and unique art area. Assemblage meaning compounding or collection is a technique through which three-dimension is added to two-dimension paintings, and which is an expression of an art work by recollection of miscellaneous articles or waste materials. Assemblage is a term which Jean Dubuffet coioned first in order to differentiate collage used by Picaso or Braque. Here, I present Nail Art Designs which applied Jean Dubuffet's works focusing on Automaticity and Happenstantial phenomena of materials, Materialization, and Directness. These features are characteristics of Assemblage which basic frameworks are fantastic collection, accumulation, constructive collection, and object collection.

• 한국도서관정보학회지
• /
• 제1권
• /
• pp.1-15
• /
• 1974

The public library and micro-library as institutions of social education have been greatly developed under the influence of the library law enacted 011 Octob~r 28,1963 and the micro-library movement begun in 1961. However, they have still yet many problems to solve in order to accomplish their purpose effectively. As compared with the staff and library materials, buildings are 1norc. than a match for the others. Although many facilities are not complete enough to serve the public, people do not make the best of the facilities in both the public libraries and micro-libraries. The cause of such a result ~vould be taken from a reason that the founders of the libraries could not concentrate their intcrest on the staff and materials, for they were bent on the establishment of external facilities of the libraries. The poorer materials and facilities are, the more effort a2d better quality of the staff are required for their best utilization. As it is the information center of the community, the management of a library should be scientific and reasmable. In addition, librarians have to do their best to serve the public with the spirit of Christianity under the more active suppxt of the government. Finally, institutions of social education in this comn~unityin cluding public libraries and micro-libraries might establish a mutual cooperative organization for more effective library service.

• 복식문화연구
• /
• 제7권3호
• /
• pp.35-49
• /
• 1999

The North Pacific Arctic region has common factors such as climatic characteristics and similarity of animals inhabiting the region. But also there exists geographical barriers that separates the tribes, different languages between the tribes. Although there are such differences, the clothing and ornaments of the region have relatively similar design and style. And above all possess the ‘spirit’. The tribes find the motives of such ‘spirit’ in human, animal, and soul\`s adaptability to change and in grafting such changes of forms into clothing. Especially as means of pleasing the animal that they vitally rely on, the tribes made the clothing as beautiful as the nature itself and they tried to connect the humans and animals universally through such clothing that have social, artistic, and enchantic conditions. The supply of raw materials of animals has elevated the creativeness one step up and the precise knowledge about fur show their superior techniques in making fur clothing. The use of gutskin has is an excellent example of such knowledge, which is very unique of the region. The gutskin has moderate plasticity and thus can be cut into all sorts of pattern. It harmonizes the functionality and practicality. The worldwide fashion trend is dominated by Western style, but the clothing of this region is still keeping its distinctive folk identity. At the start of the research, Kayak and itelmen tribes of Asia, the tribes of Amur river and Aleut and Tlingit tribes of North America seems to be geographically too far from each other and therefore searching theoretical background for common cultural origins seems to be immoderate. But lighting the fact that geographical adjacency that can be perceived through costume cultural history, is the most important factor that gives mutual influences to costume culture between the neighboring tribes, cultural relative similarity of the costume is influenced by geographical location rather than physical distance between the tribes. Also humans\` adaptability to their environment is seriously contaminated with man-made products. This study on North Pacific Arctic region is telling us many things about our past, present and future.

• 한국조경학회지
• /
• 제30권2호
• /
• pp.63-69
• /
• 2002

The Second Namsan Tunnel required renovation. The landscape design was conducted as part of the comprehensive programs for renovation. The landscape design covered site analysis, design development, a working drawing and a maintenance plan. In May of 2001, the Second Namsan Tunnel was renovated and reopened to traffic. The tunnel was recreated as a new type of tunnel with function and beauty. The entrance and retaining wall of the tunnel has public character. Users are greatly affected by the entrance and retaining walls along roads. The landscape architect had to find new materials and methods to improve the environment and to combine artwork with the entrance and walls of the tunnel. The surface of the tunnel entrance and retaining walls are artistically treated with ceramic tiles and paint. Various regional characteristics and cultural meaning are symbolically expressed. Or the tunnel entrance from the Joong-gu side, entitled "Glory of the Future", the hibiscus symbolizes the bright and glorious future of Korea. On the retaining walls, entitled "Hope", the promising Joong-gu is symbolized through image of Korean magpies, mountains, rocks, roses, winds and nature. As for the tunnel entrance from the Yongsan-gu side, entitled "Vivid Spirit", pine trees symbolize the Koreans′strong will and an enterprising spirit. On the retaining walls, entitled "Lively Motions", Yongsan-gu is symbolized through image of pigeons, mountains, rocks, roses, winds and clear skys. The entrance and retaining wall of the Second Namsan Tunnel, whose surfaces are treated with tiles and paint with artistic value, would create an atmosphere using large-scale wall paintings. In this artwork, users would perceive a unique sense of place through the symbolic images of the vertical planes of the tunnel.

• 복식
• /
• 제65권2호
• /
• pp.105-124
• /
• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• 한국화재소방학회논문지
• /
• 제31권6호
• /
• pp.99-106
• /
• 2017

본 연구는 일본과 미국 의용소방대의 운영체계 전반에 관한 비교 고찰을 통해 우리나라 의용소방대의 개선방안을 모색하고자 수행되었다. 이를 위해 관련 학술논문, 선행 연구논문, 국가기관 발간 책자, 소방관련 서적 및 일본 소방단 신입단원용 교재, 해외 연수보고서 등의 문헌조사 연구방법에 따른 기술적 접근방법을 활용하였고, 우리나라 의용소방대의 효율적 운영을 위한 개선방안을 제안하였다. 연구결과는, 첫째, 지역사회의 공동체 의식 강화 및 의용소방대의 위상 정립 둘째, 의용소방대 활동영역의 구조 구급분야 확대 운영 셋째, 의용소방대 현장 전문교육 훈련지도 전담팀 확대 설치 운영 넷째, 개별적 보상방법 개선과 의용소방대의 정체성 인식 및 재정적 지원 강화이다. 본 연구결과는 향후, 우리나라 의용소방대 발전을 위한 기초자료로 활용될 수 있기를 기대한다.

• 한국의류산업학회지
• /
• 제9권6호
• /
• pp.613-625
• /
• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.