• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.43-50
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• 2001

This design proposal was accepted to a design competition for the improvement of Indi Youth Street, Mapo-Gu, which was held by the Seoul Metropolitan Government in June, 2000. The \`Hong-ik University District\` projected area consists of several streets, where the independent and youth culture unique to this area is blossoming-Indi music, underground arts, and historic meaning of the area as an estuary of Mapo. The site is also expected to attract many citizens and fereigners because of convenient accessibility of the new subway station to the Inchon International Airport and because of many attractions on the street- foods, music, art and people. Accordingly, the proposal set the main design concept of this project as \`the Street of Youth Culture\` considering its special and social status as well as the physical improvement of the street environment. With this concept in mind, the proposal designed the improvement of the physical conditions based on the motive of \`the Street of Youth Culture\`, having Indi/under art, Indi/ under music, Indi/under drama and Indi/multimedia animation. This design proposal of the Street of Youth Culture consist of three segments, which symbolize the millenium Youth Plaza, MultiMedia Animation Pocket and Arts Exhibition Pocket based on unity and balance. This plan has the ultimate aim of making the district one of the people\`s favorite streets in Seoul, which people love to visit again and find the vivacity of the new millennium youth culture.

• The Research Journal of the Costume Culture
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• v.10 no.1
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• pp.13-27
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• 2002

Applying H. Gans' taste culture theory to the comtemporary fashion phenomena this study had an object to classify the fashion phenomena in Korea and Japan from 1995 to 1999, and look into and compare them. First of all, the characters of each fashion group of the two countries show that the details of the Korean traditional costume are grafted into the most popular style in each season in Korean high fashion and oriental look used the formative method far Japanese traditional costume and Tokyo street style are reflected in the Japanese high fashion. Mass fashion in Korea equally comes under the influence of European high fashion, Korean street fashion, and Japanese mass fashion, And mass fashion in Japan reflects European high fashion and japanese street fashion. The Street fashion in Korea was affected by Korean entertainers'fashion, 'Tongdaemun market fashion' in Seoul, and Japanese street fashion. And street fashion in Japan is also affected by the pursuit of powerful personality, the absolute imitation if Japanese entertainers' fashion, and 'Tongdaemun market fashion'. All of two countries exercise considerable influence over mass fashion each other.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.173-186
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• 2002

Street Style, occurred in British and America, has been expressed the character of the new generation by repeating developments and changes. Nowadays, pop music reflects the phase of society. and simultaneously it has influence on from culture to society. Rock Music was rooted in Country 8l western of America. Upon Country & Western, Afro-Americans Rhythm & Blues was added, and that was the birth of Rockabilly. Rockabilly developed to Rock'n 'roll and it started to change to various forms of Rock since 1950s. As the commercial impact and the breakthrough of teenagers emotion, the rock culture comprised the base of the youth culture. However. it formed the anti-establishment culture against the established value, accepting working class subculture. The teenager culture was affected by the Rock culture, also found relief in the opulence provided by the established generation, imitating it as it was. Simultaneously, it had a contrary aspect as anti-establishment form under the banner of revolt against languor in richness. The youth culture created street style that was escaped from high fashion, every time Rock music had changes. Since Street style was based on resistance of established culture and it fully refused vogue, it was indifferent from high fashion. The results of this study were as following. First, every time Rock music had changes, the new youth culture was concomitant with, the youth culture created street style. Secondly, rockahibilly style was characterized as diamond shaped design, embroidery, extra wide shirt collar, vivid contrast color . Rockers style was represented as metal studs, beads, denim, leather jacket, boots. Fusion of hippies style and Psychedelic, long hair, beads. worn denim were elements of headbangers style. Punks style was characterized as ripped T-shirt. rooster hair, over decorated jacket, short skirt. net or plastic T-shirt. Lastly, the firm relation between popular art and fashion was proved by examining the history of Rock Music and Street Style.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.3 s.110
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• pp.94-104
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• 2005

This paper presents a streetscape design for the 'Gaeksa-gil', located in Gosa-dong and Jungang-dong, Jeonju City, which length is about 830m and width is about $8\sim10m$. The goals of the design are to make a street on which people want to walk and rest both safely and pleasantly. To achieve these goals; concepts of identity, history, placeness, commercial vitality, environmentally-friendliness, safety, amenity , and democracy have been developed. For the pedestrian safety; shared street concepts, such as crank, salalom, fort, mini-rotary etc. are adopted. For design method, community participatory design is adapted. For the design theme; the axes of Time and Space are developed and streets are divided into 3 thematic spaces, such as 'History Street,' 'Nature Street,' and 'Culture Street.' The History Street, which belongs to Time axis, is a space for experiencing past, present, and future history of Jeonju city. Nature Street, which belongs to Space axis, is a space for feeling and loaming the nature of the city. The Culture Street, which also belongs to Space axis, is a space for experiencing the culture of the city. The community participated in the whole design process through the workshop, the internet website, the street events, etc.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.30-39
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• 2008

This research investigated the change of Japanese Street Fashion after the Second World War. The change were categorized into 5 terms from the late 1940s to 2000s. The first term was from the late 1940s to 1950s, when street fashion was born. The second term was from the 1960s to 1970s and counter culture of street fashion appeared. The third term was the 1980s, during which street fashion fluctuated. The forth term was the 1990s, a period of chaos in street fashion. The fifth term was after 2000 and it was a retroaction term of street fashion. Japanese street fashion was influenced by fashion magazines in those days. Various street fashions in Japan based on special society and cultural situation accomplished Japanese basic fashion quality and influenced world fashion.

• Journal of the Korean Society of Food Culture
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• v.22 no.1
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• pp.43-57
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• 2007

This study was designed to identify the actual state of ready-to-eat street-foods usage in a college-town in northern part of seoul. For the empirical study, data was collected from customers who had eaten street-foods and a survey was conducted from 16 to 30, May 2006. The results showed that many respondents had irregular eating habits. More than 60% of them responded they usually skipped breakfast and the reason was no time. It was shown that they have had Frequent snacks and unbalanced diet. The results of survey are as follows ; 1. The major time for street-foods usage: p.m 3-5 (28.77%). 2. The frequency of street-foods usage: 1-2 times/week (43.85%). 3. The street-foods usage days of the week: weekday (52.79%). 4. The mean cost for the onetime purchase of street-foods usage: 1000-3000won (71.79%). 5. The monthly cost for the purchase of street-foods usage: below 50000won (81.84%). 6. The reason for street-foods usage: mainly convenience (60.61%). 7. The reason for minding street-foods : mainly insanitary (40.50)%. 8. Factors considered when choosing street-foods: tastes of the foods (65.08%). Also, it was shown that over 50% of respondents have considered the street-foods as the worth of meal replacement, and taken effective factor on eating habits for influx of new culture. It was indicated that problems of street-foods usage was the unbalanced nutrition for 81.8% of respondents and suggestions for improving the street-foods were sanitary controls for products for 63.4% of respondents.

• The Journal of Natural Sciences
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• v.9 no.1
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• pp.113-129
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• 1997

Postmordern style showed in contemporary fashion is various. Specially, street style begins from teddy boys, mods, hippy, skin head & popular fashion. They are come from mass culture. Mass culture dominated in many ways in modem society. In music, cinema & other plays we can read of youth. Street style includes youth culture about their fear and resistance and their passion. We can see kich in aetheics of street style as it was showed in mass culture. They are as follows. ${\cdot}$ Wit and sympathy expressed in primitivism. ${\cdot}$ Sensuality expressed in erotism like shows in works of Vivian Westwood & Zandra Rhodes. ${\cdot}$ Fantasy expressed cyber & psychidelic fashion.

• KIEAE Journal
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• v.4 no.1
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• pp.33-38
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• 2004

There are many attempts to make more comfortable amenity in city districts and streets to provide a soundscape design. And the sound which reflects the culture and peculiarity of characterized the street must be preserved. Thus these attempts are recognized as another noise control to give the suitable environmental sound, not to reduce noise level. This study aims to analyze the behavior of the pedestrian and sound environment of the street sound, by measuring the sound level for the Insa-Dong Traditional Culture street. As the results, it is advisable to use the natural water sound dominating the district and to provide the staying spot to watch the event to be held. The results of this study could be used as fundamental data to recover the image of Insa-Dong Traditional Culture street to consider design concept of soundscape.

• Journal of Game and Entertainment
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• v.2 no.3
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• pp.38-43
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• 2006

As the quality of life increases, the demand for enjoyment of leisure culture is increasing in modem society. This has led to the growth of cultural industries, creating many new cultural industries, and due to its recent engagement with digital technology, the development of digital cultural contents has rapidly expanded. As an integrated art field grafted with high technology, the game industry in particular is fusible with other various fields to create new leisure cultures. Taking these periodic conditions into consideration, this essay has presented a promotion scheme for game culture street based on the characteristics of game culture that make it easy for anyone to access. Game culture material signifies the grafting of cultural game characteristics to the physical platform of street, to provide, not only diverse applications of game culture, but also a market for vitalized game industries. This essay has researched the validity and components of game culture material promotion, along with promotion schemes for physical street.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.