• Journal of Digital Convergence
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• v.17 no.12
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• pp.451-459
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• 2019

This study is aims to examine how the skeleton character in Pixar's Animation is visualized for the narrative of the film and suggests the direction of attractive character development corresponding to the story. First of all, it was conducted the case studies on the narrative of animation, character design, character's emotion expression, and animations featuring skeleton character. Based on this study, it was derived the visual representation of the skeleton character featuring in and analyzed the role and function in the animation. As a result, the expressions by the skeleton's eyes, eyebrows, mouth, lips, and jaw played the most important role for the emotional expression and lines in , and the major characteristic for human facial expression was reflected in the design of the skeleton character. In addition, the various props were used to provide the detailed informations of the skeleton's character, and it was expressed the movement emphasizing its essential attribute. Finally, the skeleton's symbolic image was strengthened by composing and arranging the skeleton's image through Mise en scene. It is expected that this study will be used as a reference for the animation character related researchers and practitioners in the business and it helps develop attractive characters fir the narrative animation in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.54-60
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• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.18 no.6
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• pp.22-30
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• 2004

It is an attempt to suggest the standard valuation method of the environmental illumination for the bridges across the Han-river from an aesthetic point of view, deviating from the technical and traditional viewpoint. In Korea the current evaluation criterion to verify the value of bridge design has a partiality for the technical and structural safety rather than the sentient beauty on the whole. However, the recently cultural reform of Korean mass society with the elevation of the standard of living forces the engineering designers for bridges to focus not only on competing physical structures but also on enhancing the formative beauty including the illumination effects for night view. Additionally, the new policy, which transforms the environments around the Han-river into the major tourist attractions has been executing strongly by the city authorities to revitalize the symbolic, historic, and cultural identity of the capital city with the introduction of the high-quality environmental illumination for the bridges. As a result, It becomes necessary to establish the manual and standardization of the environmental illumination planning for the city in terms of the formative beauty, and this study is to suggest the valuation model method of the environmental illumination for the bridges as the initial step of the standardization. In the study, the valuation items of the standard questionnaire are selected by the documentary records and the consultation of various experts in architecture, design, fine art, urban planning and even administration to verify the essential elements of the aesthetic beauty with the local amenity and the environmental harmony for the chosen bridges across the Han-river.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.5
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• pp.1-13
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• 2019

This study is to derive a design alternative to the FECC (Forest Experience Center for Children) that meets the preschooler's preferences. For this purpose, preschooler participation is included in each phase of the FECC, the site perception phase, the deriving design elements phase, and the deriving design alternative phase. In this study, the process of the deriving design alternative phase was carried out with kindergarteners and preschoolers (6, 7 years olds; all 41 students) at Songsan-mulbit FECC in Gwangsan-gu, Gwangju. In order to derive the design alternatives, three detailed design processes (preschooler participation 2 times, researcher analysis 1 time), tool construction, and a preschooler participation workshop were conducted. The results of this study are as follows. First, as a result of the preschooler's design process, 41 designs were drawn, and an average of 7.66 spaces were drawn by each preschooler. The 6-year-old males designed the least (average 6.80 spaces) and the 7-year-old females designed the most (9.0 spaces). The physical and adventure play spaces were most common (38.9% to 48.7%) regardless of gender or age. To analyze the feasibility of the preschooler's design using a base map, the appearance of the physical environmental characteristics (7 items) in the site were analyzed in each of the 41 designs. As a result, the environmental characteristics were apparent a total 72 times overall. Similar environmental characteristics appearing more than once were apparent in 87.8% (26 designs) of designs. Second, three design alternatives were derived: APS- types (intensive planning of active play facility spaces) was presented in 15 designs, NS-types (planning focused on nature spaces) was presented in 14 designs, and SPS-types (planning focused on static play facility spaces) were presented 12 designs. Third, NS-type, which were finally selected through a preference assessment (5-point scale) and a comparative assessment of the three alternatives, has mainly natural spaces (forest space, forest path, shelter, natural exploration space, and ecological pond) and active play facility spaces, water play space and soil (sand) play spaces was appropriately designed. Therefore, the NS-type was analyzed as the design alternative that can fully accomplish all types of cognitive development through developed through play (functional play, constructive play, dramatic(symbolic) play).

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.5
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• pp.59-68
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• 2018

This study deals with post-occupancy evaluation (POE) of 'Kim Gwang-seok Street'as storytelling road for urban regeneration. The evaluation focused on image preference and use satisfaction of visitors. This is the initial project of popular singer-storytelling street as a new attraction, and the results could be used as basic data for the sustainable planning and management of storytelling streets. 200 respondents of visitor group were analyzed. Frequency analysis for demographics, use, behavior, reliability, and means, were evaluated. Factor analysis and multiple regression analysis were conducted for image preference and use satisfaction. Responses showed high frequency of twenties in age, who were typically students. In use motives and activities, strolling, sightseeing, and taking pictures were shown to be the most common. The mean scores of image variables showed symbolic (5.03), familiar (4.84), beautiful (4.71), and bright (4.63), the highest. The result of exploratory factor analysis, led to 3 factors being categorized; the mood of street, the design, and the dynamics. Due to the result of multiple regression analysis, the preference of space image was significantly influenced by 4 image variables; symbolic (${\beta}=.314$), stable (${\beta}=.248$), friendly (${\beta}=.204$), and fresh (${\beta}=.142$). In the use satisfaction analysis, the mean scores were highest concerning facility design (3.81), typical street (3.78), the image of street (3.81), continued use (3.66), and experiential tourism (3.53), respectively. The mean score of parking space (2.56) was the lowest. In factor analysis concerning use satisfaction, 3 factors were categorized; facility management, experience, and image. By the result of multiple regression analysis, the total satisfaction of use was significantly influenced by 4 independent variables; image of street (${\beta}=.296$), management (${\beta}=.277$), continued use (${\beta}=.205$), and typical street (${\beta}=.183$). As storytelling road for urban regeneration, 'Kim Gwang-seok Street' has shown considerable success in significant improvement of image preference and user satisfaction. Therefore, the enhancement of 'placeness' through storytelling of Kim Gwang-seok, and the strengthening of its identity and symbolism, should be the basic focus of development for the street in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.