• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Journal of the Korean Institute of Landscape Architecture
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• v.16 no.2
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• pp.23-41
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• 1988

Environmental design pattern of the nine Small Urban Spaces at C.B.D. in City of Seoul are surveyed and analyzed for user's satisfaction and behavior under the environmental design evaluation by using Chrisopher Alexander's Pattern Language. Small Urban Spaces as a part of streetscape are formed by physical factors as well as visual environment and interacting user's behavior. Therefore, user's satisfacuion and behavior at the nine Urban Small Spaces were investigated under the further search for some possibilities of a pplication of those Pattern Languages. A pattern language has a structure of a network. It is used in sequence, going through the patterns, moving always from large patterns to smaller, always from the ones which create comes simply from the obsernation that most of the wonderful places of the city were not made by architects but by the people. It defines the limited number of arrangements of spaces that make sense in any given culture. And it actually gives us the power to generate these coherent arrangement of space. As a results, 'Plazl', 'Seats' and 'Accessibility' related design patterns are highly evaluated by Pattern Frequency, Pattern Interaction and their Composition ranks, thus reconfirm Whyte's Praise of urban Small Spaces in our inner city design environments. According to the multiple regression analysis of user's evaluation, the environmental functins related to the satisfaction were 'Plaza', 'Accessibility' and 'Paving'. According to the free response, user's prefer such visually pleasing environmental design object as 'Waterscape' and 'Setting'. In addition to, the basic needs in Urban Small Spaces are amenity facilities as bench, drinking water and shade for rest.

• The Transactions of the Korea Information Processing Society
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• v.6 no.6
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• pp.1532-1541
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• 1999

In this paper, we built an Object Oriented Framework for Web collaboration system which contains high level analysis information and design knowledge for java applets and applications that enable web clients to communicate and collaborate each other. Components of framework contain design information, source codes and executable codes for reuse. We had defined a development method for domain framework in related works and built a web collaboration system framework following it. We defined subsystem of web collaboration system for the communication and collaboration between web clients. We also BBS, Q&A system, board service system for the communication and collaboration between web clients. We also developed visual tools for framework usability : source code generator, class editor, knowledge supporting tools.

• KIPS Transactions on Software and Data Engineering
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• v.3 no.7
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• pp.255-262
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• 2014

Our previous research[1] suggested object extraction and modeling method based on Fillmore's case grammar. This approach had not considered of use case extraction and method. To solve this problem, we adopt Fillmore's semantic method as linguistic approach into requirement engineering, which refine fillmore's case grammar for extracting and modeling use cases from customer requirements. This Refined mechanism includes the definition of a structured procedure and the representation of visual notations for 'case' modeling. This paper also proposes the use case decision matrix to identify use case size from extracted use cases based on goal oriented requirement engineering(GoRE), which related with the complexity of use case, and also prioritizes the use cases with this matrix. It demonstrates our proposal with the bank ATM system.

• Archives of design research
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• v.13 no.1
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• pp.7-18
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• 2000

Study of Costume Design Applied The Formativity of Korean Traditional Cloth Wrappers Costume has been coexistion with man ever sine human history began, and in modem society its role in man's living, culture and art has become so great that It is now an object most refreshing and of extensive concern to man. This study, based on the expressive quality and purity of Korean traditional cloth wrappers which have the formativity continuously pursueing new visual inspirations, is to seek new expressional diversities and rediscover our traditional beauty and at the same time to present possibilities of reflecting more unique, new spirit of the times inherent in our culture and of creating certain formative world of design value. In studying, literary reference as atheoretical background, analysis of the formative characteristics of traditional cloth wrappers through corrobcrative data preserved as a cultural asset at museums, and actual making of eight works in total based on the results of analysis have been paralled.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.81-96
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• 2019

The study intends to seek the creative ideas that can satisfy the needs of individual consumers by rediscovering the modern meaning and the artistic value of geometric ornaments engraved on the backside of Danyugyung, which is a traditional Korean pattern. In terms of the study method, the symbolic meaning and formative characteristics of Danyugyung were determined, and the form of its pattern and the geometric characteristics were analyzed. Based on this, Photoshop and illustrations were used to apply the shapes of Danyugyung and internal patterns to the textile designs, and the results are as follows. Firstly, it was found that Danyugyung was associated with the bronze mirror, which was used from the Bronze Age to the Early Iron Age, and was the product of artistic activities and an object and acted as a shamanistic and authoritative symbol of the ruling parties, which were responsible for the acts related to the spiritual world. Secondly, it was discovered that forms of Danyugyung were classified into Jomungyung and Semungyung in accordance with Forms of Danyugyung (造飾), and the formative features of the geometric ornaments that were engraved in great detail on the backside could be found in the images which change according to the form of the inner patterns. Thirdly, with regard to the development of the textile designs utilizing the shape and inner patterns of Danyugyung based on the formative features, it was could discover that the simple shape of Danyugyung presented a value which can be applied as a unique design factor delivering a visual rhythm by attempting to create various harmonies overlapping lines engraved on the inner patterns and the shapes of Danyugyung. Based on the above-mentioned outcomes, the possibility was confirmed that Danyugyung can be used as a novel motif and as a standard unit of patterns for textile design. With future studies, I would like to utilize the unique and diverse images as pattern motif for textile design.

• Journal of Science of Art and Design
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• v.8
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• pp.95-127
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• 2005

It's a matter of ontology rather than that of cognition and methodology to discuss a work of art in Gadamer's philosophy. In addition, he emphasizes the cognitive aspect of a work of art instead of comparing forms and contents of them. For that reason, he excludes aesthetic consciousness derived from Kant first and then makes away with Schiller's theory of aesthetic education. For Gadamer, the concept of truth does not mean accord or correspondence. It would rather be an encounter. This encounter is not axed on a specific time, but a continuous and historical one. Basically. a work of art guarantees this kind of an encounter. This encounter is not based on mutual agreement through an objective standard but on recognition with mutual understanding. Therefore, prejudice or tradition should be acknowledged and respected instead of being excluded. We have only to minimize difference between them through conversation. Gadamer's ontology of a work of art is based on such a ground. The function of a work of art is not only simple satisfaction of aesthetic senses but an object of interpretation, that is, a text by presenting a ground of truth through an agreement of situation. This text reveals its meaning in the situation of author-text-reader. The appearance of this meaning is nothing but the birth of truth. Symbol-allegory and classicism show how to express this kind of truth in a work of art. It is true that Gadamer's philosophical hermeneutics cannot be easily applied to interpret a concrete work of art because it just lays emphasis on the process of 'understanding' instead of a detailed analysis on an individual work. For that reason, he was criticized by some people because of this subjectivity of understanding. However, it's meaning could be changed according to the viewpoint on a work of art. There appears various structural approaches on a work of art in contemporary theory of art. Gadamer just asks the basis of such approaches instead of criticizing a specific one Therefore, a practical approach on individual work should be made separately and hermeneutics enriches the meaning of open-ending of each work of art.

• Archives of design research
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• v.16 no.1
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• pp.117-126
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• 2003

The human computer interaction has gone through diverse changes along with the technical progress of computers. With the spread of the world wide web, attempts of various forms and methods of interactions reflecting the characteristics of the web are being made. Among the diverse concepts of interaction, Conversational Agent uses a character as the visual perceptional object and through the interaction based on conversation it suggests a natural, human, intuitive interaction. In this study, Conversational Agent was suggested and applied on a cyber lecture website and the appropriateness was verified. The fundamental structure and method needed in constructing a conversation was examined through the study on conversation. After that the characteristics of the conversation used on the web was identified and hereby and the coherence and conversation structure was deducted. After the characteristics of the conversational agent were observed, it was applied to the previously deducted web sites logical connection and conversation structure. Lastly, the conversational agent suitable for the web site was proposed and realized.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.30 no.5
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• pp.435-444
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• 2012

Although the multi-scale map database should be constructed for the web map services and location-based services, much part of generation process is based on the manual editing. In this study, the map generalization methodology for automatic construction of multi-scale database from the primary data is proposed. Moreover, the generalization methodology is applied to the real map data and the prototype of multi-scale map dataset is generated. Among the generalization operators, selection/elimination, simplification and amalgamation/aggregation is applied in organized manner. The algorithm and parameters for generalization is determined experimentally considering T$\ddot{o}$pfer's radical law, minimum drawable object of map and visual aspect. The target scale level is five(1:1,000, 1:5,000, 1:25,000, 1:100,000, 1:500,000) and for the target data, new address data and digital topographic map is used.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.