• Journal of Science of Art and Design
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• v.7
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• pp.185-205
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• 2005

This study is about the aesthetic function of product design. On the basis of aesthetic characteristics inside the products, the main purpose of this study lies in the interpretation of aesthetic function in terms of provider and receptor. To interpret the aesthetic function of product design, many attempts had been made with theorists who studied the aesthetic function in product modeling. Especially, this study is systemized from Haug's product aesthetic criticism to Vershofen, Loewy, Villeger, Buerdeck, Packard and Sombart's interpretation. Under the point of view of both provider and receptor, this study analyzes the different characteristics of interpretation on the basis of above theorist's concept. This analysis is able to demonstrate the rationales of the demands in current prestigious design and understanding of concrete design principals. Accordingly, the future study will be proceeded with interpretation of aesthetics functions in prestigious design.

• Architectural research
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• v.13 no.4
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• pp.19-30
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• 2011

This investigation, based on empirical research, examined the role of complexity and order in the aesthetic experience of architectural forms. The basic assumption of this study was that perception in architectural form is a process of interpreting a pattern in a reductive way. Thus, perceptual arousal is not determined by the absolute complexity of a configuration. Rather, the actual perceived complexity is a function of the organization of the system (order). In addition, complexity and order were defined and categorized into four variables according to their significant characteristics; simple order, complex order, random complexity, and lawful complexity. The series of experiments confirmed that there is a point on the psychological complexity dimension which is optimal. By demonstrating that consensual and individual aesthetic preference can be measured to have a unimodal function of relationship with complexity, the results of the experiments indicated that complexity and orderliness are effective design factors for enhancing aesthetics of a building facade. This investigation offered a conceptual framework that relates the physical (architectural form) and psychological factors (complexity and order) operating in the aesthetic experience of building facades.

• Archives of Reconstructive Microsurgery
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• v.23 no.1
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• pp.8-12
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• 2014

Purpose: The success rate of free flap operation has shown a recent increase. Especially for breast reconstructive patients, aesthetic results are considered a necessity. However, for patients who underwent reconstruction in parts of the body other than breast, for example, head and neck, lower and upper extremities, aesthetic considerations are underscored. Nowadays, however, aesthetic standpoint toward these patients is changing. Materials and Methods: We conducted a retrospective review of 8 patients who underwent secondary procedures after free flap surgery from March of 2011 to April of 2014. Results: Secondary refinement was a safe and less time-consuming technique for maximizing the function and aesthetic appearance for the patient. Conclusion: Appearance has become increasingly important with regard to function and quality of life. Therefore, for free flap reconstructive patients, secondary refinements may be considered in order to change the shape and contour. The secondary refinements are critical to the final result and must be a planned part of the entire reconstructive sequence.

• Archives of design research
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• v.14 no.1
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• pp.103-110
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• 2001

The purpose of this study is to test the typicality effects to aesthetic response according to product orientation (design-oriented vs function- oriented) and perceived purchase risk. This study overcame the limitations of existing researches which haven't had the consensus about the relationship between typicality and preference and consequently suggested the typicality effect to aesthetic response by analyzing this relationship with product orientation and perceived purchase risk. The results of this study showed the inverted U-shaped relationship in design-oriented products and no relationship in function-oriented products between typicality and preference.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.114-120
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• 1999

The study on architecture can be started with the aesthetic attitude which cognizes it as the art of the space. Architectural space as the subject of the aesthetical study, however, has been ignored such a long period though it should be centered of the whole architectural theory. Even it has not been dealt with independently but just only as a part of aesthetic or artistic field. Also it is true that academic approach to the architectural space as per the aesthetic cognition has not been done so satisfactorily. This study, therefore, aims at prescribing compositional scope from aesthetic cognition of architecture understanding the rational function, mechanic structure, and artistic beauty by man's subject standard of judgement as per the space, the special sphere of architecture. For the absolves, the architectural space in this study is not approached as the spatial art with the meaning of being included the arts general, but with the meaning of intrinsic peculiarity of architecture, based both in practicality of scientific concept and arts of the aesthetic notiov. In order words, the essence of architecture can be prescribed as the architectural realities as the functional, formal and symbolical space not simply the spatial art, and its real but aesthetic meaning can be cognized aesthetically.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.18-28
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• 2009

Korea Ancient Gagye in Clothing history has the following meanings with ceremonial, social, and aesthetic aspects, related to symbolism of its formality and procedures, flexibility about social aspects, and clothing beauty. First, Gagye must be worn in formal ceremonies with its clothes. Different Gagye in different time and place means the symbolism of its formality and ceremonies. Gagye played a big role as a means to carry out national ceremonies In diplomatic relationship with China. Second, Korea Ancient Gagye had been worn in every class irrespective of social status. Because it could be worn reflecting personal preferences even in old communities. Additionally Gagye had flexibility to reflect the historical aspects and improved various Gagye types reflecting Buddhism and practical science. So Gagye becomes significant sharing the common value with Korea Clothing culture. Third, Korea Ancient Gagye developed aesthetic spirit concerning beauty of Clothing. In the Age of the Three States, Clothing and Gagye types kept balanced and made good harmony. Gagye had gotten little exaggerated and expanded and become changed into loaded hair type.

• Journal of architectural history
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• v.17 no.5
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• pp.55-69
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• 2008

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.25 no.1
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• pp.50-63
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• 2016

Successful treatment in the anterior esthetic prosthetic can be a balance between aesthetics in the facial, tooth, and periodontal tissue in the oral. In the case of facial symmetry of patients with normal occlusal plane, If you establish criteria of finding balance of aesthetics such as a several books and articles and manufacture a prostheses by the established-criteria, you can manufacture a harmonious and aesthetic prostheses without any trouble. However, in the case of patients with facial asymmetry, if you manufacture a tooth as patient's facial aesthetic symmetry by force even facial asymmetry case, you can't get a result not only aesthetic but also functional prostheses. Also, to produce the prosthetic of harmonious and aesthetic with periodontal tissue, and excellent self-cleansing function, you must apply to the form of the prosthetic changed dental environment.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.

• Journal of the Korean Society of Costume
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• v.25
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• pp.119-132
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• 1995

The purposes of this study were to consider the aesthetic side in the clothing positively, search the relationships of the preferance and the aesthetic factors in the general costume of body form, analyze consumer's characters against the value evaluation factors. Stimuli and questionaries were used in this study. The stimuli were twelve color photographs on clothed bodies differing in the degree of beauty and function. The scales were chosen to measure variables refering to sundry records, prediminary exam-ination. The following null-hypothese were estabilished for this study. Ⅰ. Viewer's preferance for the general 4 costumes of body forms will haved significant relationship with aesthetic factors of clothing Ⅱ. Value evaluation factors of clothing will be significantly different according to the vari-ous viewer's characters. Data were abtained from 160 females stu-dents. The data were analyzed by using spsspc+ program-correlation coefficient, one-way ANOVA and scheffe-test. The results were as follows. Ⅰ. The viewer's preferance for general 4 costumes of body forms has significant re-lationship with aesthetic factors of clothing Ⅱ. Value evaluation factors of clothing are significantly different according to the various viewer's characters.