• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.99-111
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• 2012

This study intends to explore the collaborative expression in the modern fashion design by analyzing the collaboration of motifs symbolizing Korean cultural identity. As for the data research, in order to examine the expressional objects of collaboration in the collections of the fashion designers from Korea and overseas who have applied the Korean culture among their collections posted on the Internet sites, www.firstview.com, and www.style.com from 2005 to 2012 were collected for analysis. 923 pictures used in the analysis sheet. As for the research method, the content analysis method was used. In the modern fashion design, the collaborative expression in the motifs symbolizing Korean cultural identity are limited to tangible expression, intangible expression, integrated expression. The results of this study were as follows. First, in the tangible expression, traditional tangible assets are used in the shapes, items, colors, materials, patterns and details to symbolize uniquely Korean image. The intangible expression, the applicability for Korean intangible assets include the master's (intangible cultural assets) and the craftsmanship of the modern designers being collaborated onto the contemporary customs to express the Korean traditional culture in a realistic or an abstract trend. The hybride expression, it is to represent Korean thoughts and values using the tangible elements. Second, The expressivity of collaboration of each year mostly shows integrated expression, intangible expression and tangible expression were shown respectively. The trend of seasonal collaboration expressivity was muchly the integrated expression in most seasons, and intangible expression and tangible expression followed respectively. It is recognizable that the expressivity of collaboration of each designer was; integrated expression was muchly shown in Lie Sang Bong and Lee Young Hee's works, Duri Jung showed much of intangible expression, and much tangible expressivity was shown in Carolina Herrera.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.192-200
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• 2007

The purpose of this study is to examine expression characteristics of Koreanity of indoor spaces and food-related elements in Korean restaurants that preserve Korean cultural identity and to acquire basic datas for total design planning that integrates not only spaces but also food-related design elements including food, tableware, table setting and food styling. For these purposes, we selected 18 Korean restaurants showing Koreanity based on related magazines issued during the period from 2000 to 2005 and Internet sites related food. The survey method is to investigate the selected restaurants visited in person, and the intangible and tangible characteristics of their indoor spaces and food-related elements were recorded in detail, photographed and analyzed. The results of study is as follows: First, among intangible elements, the most frequent one in space was formative aesthetic characteristic(60%), and that in food is socio-cultural characteristic(60%). Second, as to Koreanity expression methods through tangible elements, the most frequent method for space was the use of contemporary elements as mains and traditional elements as supplements (11cases) and that in food is compromise between traditional food and contemporary recomposition (16cases). In order to develop competitive Korean restaurants in the global age, we need to create stories based on various intangible elements found in our indigenous culture beyond fixed traditional designs from the past and to produce total designs of food space design and table settings through consistent concepts.

• Journal of People, Plants, and Environment
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• v.24 no.6
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• pp.685-691
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• 2021

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s. Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow. Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of 'take-nothing,' 'reflection' and 'opportunity.' Tangible materials reflected the abstract concepts of 'intervention,' 'resistance,' 'unliving,' and 'change,' and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis-and with caveats-and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future. Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist's selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.135-144
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• 2012

Since Seoul was selected as the world design capital at the end of 2007, the endeavors to modernize the Korean unique beauty is becoming more tangible. Especially, the commercial spaces to be used by the general public and tourists have the value for study in the respect that such spaces for the national iconic images and have a large and far-reaching effect to transmit the national identity. Therefore, this study analyzed the design coordination properties in the Koreanity expression found in the modern commercial spaces. the foundation for the analysis was based on Leonard Koren's work on the arrrangement rhetoric theory, 'Arranging things(2003), and the contents of Korean expression were reviewed with professional jounals. the results are as follows: First, the design coordination properties in the Koreanity expression shown in modern commercial spaces are black-white contrast, natural materials, curved shapes, brevity, and simple beauty. Especially, some elements such as wood, traditional Korean papers, stones, mid-to-low chroma natural colors, checked patterns, and crazy patterns are used with overlapping and it is viewed that it is necessay to more aggressively seek for the disappeared traditional elements in the Korean modeling properties. Second, the concrete images of Korean expressions could be summarized as four adjective image groups, Natural, Subtitle, Gentle and Magnificent.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.165-171
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• 2003

The findings of this study indicate that intangible cultural properties are worth preservation and transmission and should be considered as very important as tangible cultural properties. If the studies of intangible cultural properties are continued focusing on their characteristics and formational system, they can be expressed more properly by adding new interactive elements to database and expressive requisites. New techniques introduced in this study are believed to provide people with most reasonable and developmental motives for expression of the existing intangible cultural properties. Concerning Korea's cultural properties centered on intangible cultural properties, information construction should be made with a new idea of information based on database from the previous studies. The result will be able to set an important factor to give wide publicity to our cultural identity, which is currently shown in the process of background communication, and serve as a foothold to deliver exact information to our descendants. The intangible cultural properties are our people's mental cultural heritage resources. If museums or initiator groups, which are organized to spread cultural heritages, can use them as the subjects of exhibition through information construction and visualization, it will function to maximize the educational effect of transmitting our national mental world. The development of digital environment will provide the optimum conditions and tools making it possible to visualize intangible forms and ideas in a virtual cyber space. Given these viewpoints, steady studies and efforts for the improvement of Korea's cultural image should be made in the way of intangible cultural properties as well as tangible ones. They start from the country's accurate appreciation of cultural properties and are embodied in systematic adjustment and relationship between interdependent elements.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.51-61
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• 2015

The purposes of this study were to examine the characteristics of elements composing the cultural identity of Chinese architectural and spatial design, and to analyze the expression characteristics and influencing factors of contemporary restaurant design. With these purposes, first, this study reviewed related literature in order to find the characteristics of tangible elements observed in intangible elements and space expression characteristics forming the cultural identity of China. Second, this study conducted a case study in order to understand the expression characteristics of the design of Chinese restaurants in Shanghai and to find factors influencing the design. In order to sample the subjects of the case study, the researcher selected 18 restaurants that were recommended repeatedly in books on Chinese restaurants and tourism and major Internet sites or highly evaluated by visitors, and then choose 15 of them that were found to be fit for the purpose of the survey. According to the result of the survey, the restaurants were largely grouped by type into 10 cases of fine dining, 3 of middle-class casual dining, 1 of fast food, and 1 of luxury tea house serving traditional tea and snacks. Of these restaurants, 46.7% (7 cases) were of CM-CM-CM type, namely, using contemporary simple elements in all of external spaces, indoor spaces, and decorations, 20% (3 cases) were of CM-CM-CT type, using contemporary and simple external and indoor spaces, and traditional furniture or articles, 20% (3 cases) were of CT-CM-CT type, using traditional external spaces such as traditional buildings, contemporary simple finishing of indoor spaces, and traditional articles such as palace lanterns and traditional doors and windows, and 13.3% (2 cases) were of CT-CT-CT type, using traditional elements in their original forms in general. Through this research and survey, cultural identity showing Chinese traditions observed in the expression characteristics of restaurant spatial designs was confirmed, and it was also found that the identity was underlain by ideologies, values, lifestyles, etc. that had long accumulated through the long history of the country and exerted a great influence.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.179-186
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• 2004

The findings of this study indicate that intangible cultural properties are worth preservation and transmission and should be considered as very important as tangible cultural properties. If the studies of intangible cultural properties are continued focusing on their characteristics and formational system, they can be expressed more properly by adding new interactive elements to database and expressive requisites. New techniques introduced in this study are believed to provide people with most reasonable and developmental motives for expression of the existing intangible cultural properties. Concerning Korea's cultural properties centered on intangible cultural properties, information construction should be made with a new idea of information based on database from the previous studies. The result will be able to set an important factor to give wide publicity to our cultural identity, which is currently shown in the process of background communication, and serve as a foothold to deliver exact information to our descendants. The intangible cultural properties are our people's mental cultural heritage resources. If museums or initiator groups, which are organized to spread cultural heritages, can use them as the subjects of exhibition through information construction and visualization, it will function to maximize the educational effect of transmitting our national mental world. The development of digital environment will provide the optimum conditions and tools making it possible to visualize intangible forms and ideas in a virtual cyber space. Given these viewpoints, steady studies and efforts for the improvement of Korea's cultural image should be made in the way of intangible cultural properties as well as tangible ones. They start from the country's accurate appreciation of cultural properties and are embodied in systematic adjustment and relationship between interdependent elements.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.37-44
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• 1998

Chair is one of objects which are closely connected with human body and is a symbol which represents human essence and culture. Symbolism embodies the meaning of expression through transfering the immaterial structure to tangible form. Therefore chair embodies the essential internal desires of human by means of its symbolic representation. In order to understand the essential human desires included in the symbolism of chair it is necessary to consider these desires with respect to cultural and historical context. in this study four essential internal desires of human are investigated through the symbolic representation of chair that is the desires on human psychological comfort authority freedom and eroticism. The purpose of this study is to emphasize the necessity of the design approach based on the understanding of essential internal desires of human which is pursued from the object by user.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.31-39
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• 2012

Ecosystem and environment have been a serious challenge facing the modern society. It's been the new paradigm from ecological view of the world and the alternative based on Orientalism. From the Oriental standpoint, ecological aesthetics and sustainable architecture are no longer new, which then servers the background of this study. The nature and the space, the life where the human is harmonized and integrated and the wish to make the balance through that life are the basic philosophy which the Orientalism has pursued. Based on such a basic concept, the study is intended to review the connectivity, expression approach and the features in Korean traditional residential space based on previous studies on ecological aesthetics and sustainable architecture. Such attempt is meaningful in seeking the possibility of presenting the new frame as well as forming the various views to the traditional space and spatial recognition. The nature was categorized into tangible element and intangible element and also direct approach and indirect approach before evaluating the characteristics. Sustainable architecture is not the concept to simply maintain or sustain the environment, but plays more important role in economical aspect. Traditional space accommodates the nature and circulation principle and the circulation in the nature controls the energy and enhances the efficiency, playing significant role. The nature itself serves the alternative energy and has the aesthetic element in such a way of concealing itself. This study is intended to analyze the Byulseo Jeongwon which formed many relations with the nature and the residential space, thereby identifying the expression characteristics of eco-aesthetic sustainable architect. This study offers the answers with regard to the coexistence of the expression characteristics of sustainable architecture with the nature, space and the human from eco aesthetic viewpoint as well as the solution in dealing with the ecological and environmental challenges. Furthermore, it suggested the possibility that the traditional space would possibly be succeedable in new and creative way and sought the way for coexistence among the nature, space and human and eco aesthetics, and finally paved the pivotal foundation as the sustainable design alternative in future.

• Cross-Cultural Studies
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• v.47
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• pp.217-240
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• 2017

This paper is based on a comparative analysis of the Korean act subject marks '-에게(한테), -로, -에' and Chinese passive marks '被[$b{\grave{e}}i$]/?[$r{\grave{a}}ng$]/叫[$ji{\grave{a}}o$]/?[$g{\check{e}}i$]'. Each distribution's aspects and characteristics were examined and corresponding relationships were analyzed by comparison of these forms. The method of this comparative analysis focused on three aspects such as tangible characteristics of the two languages, selective restrictions on the 'act subject' or 'passive subject' in the passive expression, and constraints on the use of the act subject (passive) marks in the Korean passive expression by '받다'. In this comparative analysis Korean act subject markers '-에게(한테), -로, -에' and Chinese passive markers '被/?/叫/?' are always as an adverb in passive expression in combination with the act subject. Despite this common point, some differences were revealed relative to the use of the two languages. First, we reveal that the 'act subject' and the conjoined manner follow the passive expression according to characteristics of the two languages. In addition, the act subject marks of Korean passive expressions '에게/한테, -에/로' only serve as an investigative role. They are limited only to [${\pm}animate$] of the act subject. But Chinese passive markers '被/?/叫/?' are often restricted by [${\pm}animate$] of passive subject, existence and non-existence of act subject. In the Korean passive expression by '받다', it is used as act subject marks '에게/한테, -에/로' but the Chinese passive marks are restricted by the meaning of lexical items in a sentence.