• 패션비즈니스
• /
• 제5권4호
• /
• pp.56-72
• /
• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2004년도 추계 학술발표대회 논문집
• /
• pp.204-205
• /
• 2004

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2005년도 추계 학술발표대회 논문집
• /
• pp.72-73
• /
• 2005

• 한국의류학회지
• /
• 제24권8호
• /
• pp.1209-1219
• /
• 2000

The importance of souvenirs are increasing immensely these days owing to the increase of foreign visitors to our country, which forces us to turn our eyes to this field. Upon these reflections, this study aims at aims at developing cap designs that satisfy the foreign tourists needs and let them recognize the outstanding beauty of Korean traditional patterns by applying traditional motifs. The Korean traditional patterns and their symbolic meanings were researched as well as the previous studies on the designing of goods for foreign visitors which had traditional patterns applied. Furthermore, the overall tendencies of the purchase of souvenirs and goods by foreign tourists in Korea as well as in foreign countries were investigated. Next, the present state of apparel goods and caps for sightseers in Korea was analyzed according to their shapes, colors, and patterns. Finally, by using CAD system, new cap designs were developed applying traditional bat motifs in order to capture the traditional images for a modern sense of beauty.

• KIEAE Journal
• /
• 제4권3호
• /
• pp.79-85
• /
• 2004

There is something valuable in Korean traditional architecture that does not change even after more than a number of years. Each design element of traditional houses has its own role to embody natural, healthy, and environment-friendly architectural planning. With traditional already-built examples located in the northern area of Gyeongbuk province, this study attempts to untangle some of the daylighting control issues in opening design. By looking at more than just photometric materials, at some threshold level, the whole of daylighting control characteristics of their openings is being surveyed from the viewpoint of geometric relationship between their roof structures and windows. As a glazing material, in addition, Korean traditional window covering paper, Changhoji, is evaluated for its transmittal performance under artificial and real skies as well.

• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 2005년도 추계학술발표대회 논문집
• /
• pp.227-230
• /
• 2005

This subject is about the study on digital contents development of traditional Korean furniture to find our traditional peculiarity that is disappearing gradually in the rapid computerization. In order to carry out this subject, we established some methodology to industrialize the culture, the style, the manufacturing process and the configuration details of traditional furniture in the form of digital contents with reference to books regarding the furniture in Chosun Dynasty and furniture collection in possession of museum, gallery, etc. This study made a database about traditional Korean furniture systematically to be used as basic materials that are available for diverse culture business as a whole with Korean identity in the future. The contents of this study are as follows: 1) Style of traditional furniture 2) Decoration of traditional furniture 3) Manufacturing process of traditional furniture 4) Configuration details of traditional furniture The contents work of traditional Korean furniture was to secure the identity of Korean furniture from the point of culture and to provide an alternative of modernization by re-illuminating the superiority of traditional furniture in discontinuation from the point of industry.

• 복식
• /
• 제57권9호
• /
• pp.88-96
• /
• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• 한국가구학회지
• /
• 제25권3호
• /
• pp.155-164
• /
• 2014

The culture of Korea shows political and religious discrimination by changed the era, but in the culture the inherent spirit of Koreans has been more specific at various angles to. But in the last several decades looking at the domestic furniture design field, the introduction of Western technology with high-tech, the mechanical plastics of modern Western European furniture, and imitations have been flooded. Owing to them our spirit were soon altered and made to face the current leads to confusion. Fortunately, in the latest national and international design fair the domestic furniture companies are breaking the ambiguous identity of the design in the meantime they keep studying and developing of our spirit and the demands of the times. Moreover, a new awareness and heightened interest on Korean traditional and stylish furniture are more elevated. At this moment, a study on the Connectivity of Aesthetic Consciousness Appearing in Korean Traditional Architecture and Furniture is required to overcome the today's confusion and to establish identity and the direction of the domestic furniture industry. Thus, this paper purposes to present the new direction for domestic furniture industry by researching and analyzing on the Korean traditional architecture and traditional furniture with the Korean spirit and a sense of beauty.

• 복식문화연구
• /
• 제16권2호
• /
• pp.397-407
• /
• 2008

Recently, influence of color has been expanded in various fields including design field. Among human five senses, visual sense is best for information capturing, and 80% of information judgment by visual sense is from color. Color is emotion and image. Hanbok is marked by its beautiful color combinations. The guiding principle of such color chords was Obangsaek, or the traditional Korean five base colors. The method of this study is to consider concepts of Obangsaek derived from the principles of yin-yang and the five elements and is to investigate application of Obangsaek. And the purpose of this study is to understand traditional colors and is to provide judgment criteria on various color combinations based on Korean aesthetic sense for development of textile design. The degree of nation culture depends on the level of research, analysis and application on traditional colors. Obangsaek, Korean traditional color is splendid and primary color. Also, Obangsaek has symbolic and lucky meanings. These colors are still the primary source of coloring. Obangsaek has been reinterpreted by application on textile design, some into base colors and others into diverse shades. So this study will help in the aspect of development on Korean style design.

• 한국가구학회지
• /
• 제24권2호
• /
• pp.113-120
• /
• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.