• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.197-206
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• 2012

This study focuses on comparative study of the representation of 'traditionality' in Asian hotel guest rooms. Hotel can be a concentration of the country's culture and tradition and provide unique experience to guests through its space, decoration, and material. However, most hotels in Korea are lack of a strong identity based on the Korean culture and tradition, due to adoptation of the western hotel styles without any criticism. The purpose of this study was to investigate the expression methods of the traditionality in Asian hotel guest rooms to provide design guideline to enhance identity of hotel guest rooms in Korea. Through analysis of the previous researches, criteria of the three design application methods and the five design elements were defined to analyze the representation of the traditonality. Design application methods were categorized as "Original form", "Partial adoption", and "Metaphor". Five design elements include "Shape", "Material", "Color", "Object", and "Pattern". Thirty nine Asian hotels containing the traditional design elements were explored in the study. In result, design application methods in Korea used all three methods equally, while other Asian countries used mainly the Partial adoption and Metaphor methods to express their traditions rather than the Original form method. All five deign elements were mostly used in case of the Original form methods, and two or three elements among five elements were used for the Partial adoption and Metaphor methods. The traditional representation of hotel guest rooms in Korea, reflecting current thinking, living pattern and culture, will be a solution for the new hotel design as well as elevation of Korea's status to a higher level.

• Journal of Science of Art and Design
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• v.4
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• pp.26-66
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• 2002

Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.280-288
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on tradition; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: TM style, in which modernity was principal, usually did transformation and reinterpretation of traditionality. As for the design attributes of the styles, the TM style, they processed a majority of the spatial components as modern or reinterpretation of traditionality, which would be easily considered to be modern without careful observation, and applied a small amount of direct reproduction or transformation, which gives out a direct hint at traditionality, to attract more attention. Many of the spatial components did not express traditionality directly, expressing it indirectly or metaphorically. Traditionality was expressed in a small number of the spatial components, thus serving as a focus or impact point in the given space.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.657-660
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• 2007

The growth of Web comics is very noticeable in Korean comic market as the 21st century is entered. In amongst these1 trends, the scroll comics had established it self as one of the main stream form for expression, outside the form of the traditional published comics, so it is providing a new visual experience for the readers. The scroll method uses the large vertical space that is uncomparable to the column compartment of the printed comics, and its uses of animation-like techniques, innovative partitioning, flob styles and narration partition positioning, the limitless canvas and the scroll bar of the web page, is leading the digital comic age. However, it is still very uncertain whether the 'scroll comics' will still be valid in the age of Web2.0. It is concerning that even though there are limitless potential in the realms of digital and web, the web comics seem to be bound to one particular medium, 'scroll'. In this report, the form of expression in the scroll centered web comics will be analyzed, and based on this, the future evolution of digital comics shall be investigated.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2011.06a
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• pp.132-134
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• 2011

In Communications are intended elicit respondses through a conversation or communication styles between speaker and audience. VTSO and the ship operator's intent to communicate well with each other thus leading to the conclusion that must be accomplished It should be completed with MRC which is a poor means to understand and persuasive manner, and conclusions expressed are easily able to derive strategic communication skills. Forever, but these expression and technic can not force where the operator deciding factor in the law frame should not spiral out of the border. VTSO communication skills should be taken into such factors would be high level technic. Now here's I'd like to study that occured in the maritime communications field to be studied deeper issues and a category of expression technic, expression for the VTSO.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• Journal of Science of Art and Design
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• v.1
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• pp.189-226
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• 1999

The purpose of this paper is to examine the common characteristics of late 20th century interior design style and the post-modern thinking system. A period has its own predominant spirit which determine the tendency of art, and the ubiquitous power in the spirit decides the period's pattern of art. Therefore the interior design style belongs to general art sphere that has its own individual character derived from the dominant power of the controlling system. Paying special attention to this understanding, the auther has processed this paper by combining the post-modem thinking with special characteristics of each of the 20th century interior design style. Until now, researches have been focused on the individual style of post-modern design; however, a general research comprising the whole characteristics of expression has not been made. Accordingly, the rationale of emphasizing the general point of view is establshed. Also, this study suggests a model applicable to studies concerning other art area. This type of methodology is receving more attention as an approach investigating new art ideology for researching post-modern thinking and late 20th century art styles. The conclusions are as follows: First, the distinctive expressions of postmodernism appear to be characteristic of illusion, metaphor, pluralism, decoration, and symmetry, Those of late modernism appear to be the characteristic of complicated simplicity and symplified complexity, passiveness of symbolism and harmony, indeterminacy of form and space, and unintentional decorativeness. And the characteristics of deconstructionism are spatial difference and temporal defferal, and un-reductive and non formal abstractiveness of the space, unfinishness, chance, and secretiveness of individual style. Second, the disinctive expression seems to share common characteristics with postmodern thinking. The best examples are pluralism, non-formalism, populism, and historicism, originating from the deconstruction of 'meta-narrative'. Third, based on the second conclusion, general distinctive expression could be simplified as chacteristics of plurality, hybridity, and indeterminacy. These expressive chacteristics appear to be automatically connected with general postmodern thinking. Last, in consideration of the above conclusion, the extreme generality could be distinctively clarified as 'textural co-exsistence'. Accordingly, the author might confirm that 'textural co-existence' originated from the text that comes from postmodern thinking. In conclusion, design expression of late 20th century interior design accepts the ?universal theme of ubiquitous postmodern thinking. And universal expressions and supreme generality can be common analysis tools for understanding and studying complicated late 20th century interior design.

• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.294-309
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• 2015

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.117-134
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• 2010

The multilateral attempt for present applications of art school of thought and expression is leading modern fashion as a chapter of various artistic expression. In fashion, historic art thinking which predominated the period are source of optional inspiration not simply being generated, culminated and disappear but layout principles which can reemerge as periodical needs. In other words, the past styles are the source of inspiration of new trend of the present time and will serve as the text that give birth to yet another trend. In this study, I conducted the research on the layout principles of Modernism Architecture in aspects of pure visibility and the layout characteristics. And I analyzed cases of modern fashion which were appling architectural layout principles in the view point of formal construction dimension. As the result, the layout principles of Modernism Architecture have the characteristics of diagram linearity, geometric planarity and exclusive closing. And I was applying the architectural layout principles of Modernism to fashion. The layout principles of Modernism Architecture have the tendency of lacking history types, abstract plane partition and reductionism purity in fashion. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.