• 한국조경학회지
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• 제29권5호
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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.

• 복식문화연구
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• 제10권1호
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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.

• 복식
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• 제52권5호
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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.

• 한국조경학회지
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• 제33권3호
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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.

• 한국의류산업학회지
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• 제10권1호
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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.

• 한국식생활문화학회지
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• 제22권1호
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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.

• 자연과학논문집
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• 제9권1호
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• pp.113-129
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• 1997

포스트모던 스타일은 현대유행에서 여러 가지로 보여진다. 특히 거리스타일은 테디보이즈, 모즈, 히피, 스킨헤드와 대중유행에서 시작된다. 대중문화는 현대사회에서 여러 가지 방식으로 두드러지고 있다. 음악 연극, 영화에서 젊은이들의 생각을 읽을 수 있는데, 거리스타일은 그들의 공포와 저항 그리고 그들의 열정이 담겨져 있다. 스트리트 스타일의 미학은 대중문화의 미학은 대중문학의 미학에서 다음과 같이 보여진다. ${\cdot}$ 해학과 감상이 원시주의에 ${\cdot}$ 선정성은 비비안 웨스트우드나 잔드라로즈의 작품에서 보여지는 것 같은 에로티즘에 ${\cdot}$ 환상성은 사이버 사이키델릭 패션 속에 표현되어 진다.

• KIEAE Journal
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• 제4권1호
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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.

• 게임&엔터테인먼트 논문지
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• 제2권3호
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• pp.38-43
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• 2006

현대 사회는 삶의 질이 높아짐에 따라 여가문화를 향유하고자 하는 요구가 증대되고 있다. 이는 문화산업의 발전으로 이어져 다양한 문화산업을 창출하고 있으며, 최근에는 디지털 기술의 발전과 맞물리면서 디지털 문화콘텐츠의 발전이 비약적으로 확대되고 있다. 특히 게임 산업은 첨단 기술과 접목된 종합예술분야로 다양한 부문과의 융합이 가능해 새로운 여가문화를 창출하고 있다. 본 논문에서는 이러한 시대적 상황을 고려하여 누구나 쉽게 접근한 수 있는 게임문화의 특징을 기반으로 하는 게임문화의 거리 조성방안을 제시하였다. 게임문화의 거리란 게임이 갖고 있는 문화적 특성을 물리적 플랫폼인 거리에 접목함으로서 게임문화의 다양한 활용은 물론 게임산업의 활성화를 위한 장을 마련하고자 하는 것이다. 본 논문에서는 게임문화의 거리 조성에 관한 타당성과 구성요소 및 물리적 거리 조성방안에 초점을 맞춰 연구하였다.

• 한국의류학회지
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• 제21권3호
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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.