• 한국조경학회지
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• 제25권4호
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• pp.89-106
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• 1998

This essay addresses the role of environmental aesthetics in landscape architecture : how can environmental aesthetics enrich landscape architectural theory and practice\ulcorner It begins by criticizing the predominant notions toward theory : theory as an instrumental design method, theoretical vacuum in modernism of landscape architecture, and the intimate relation of theory and practice in 18th-century England. It suggests that the expulsion of theory in landscape architectural academics and profession is nothing but an inappropriate bias. In the second place, the essay explores a remaining question : why environmental aesthetics is a part of landscape architectural theory\ulcorner I would argue that environmental aesthetics can transcend the man-nature(subject-object) dichotomy, one of heritages of Western modernity project. Here, landscape architecture meets environmental aesthetics, and both can intermediate between theory and practice. For landscape architecture is (and ought to be) a device of embodied communication, creating symbolic settings wherein an interconnection of man and nature can occur. Finally, this essay examines the aesthetics of engagement that Arnold Berleant claimed recently. This theory of aesthetic experience has a possibility of making corrections some improper conventions in landscape architectural creation and appreciation : disinterested contemplation, visual-orientedness, decoration-denteredness, and so forth. I would conclude that environmental aesthetics can be a significant theory which can correct misconceptions in landscape design and appreciation and, further, can lead contemporary practice. As the great mediator between man and nature, between theory and practice, environmental aesthetics has a profound role to play in the realm of landscape architecture, and vice versa.

• 한국의상디자인학회지
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• 제7권3호
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• pp.53-61
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• 2005

With the acceptance of western culture, our traditional culture is in the crisis of disappearing. This is especially evident in the clothing and textile field. Therefore it seems essential to apply the traditional Korean aesthetics to our clothing. The purpose of this study is to reconstruct the types of design and analyse the characteristics of patterns expressed in traditional roof-tile. This study attempted to use the roof-tile patterns as motive for all tapestry and fashion design work to realize a creative expression of formative world through on-screen restructuring. The traditional roof-tile patterns were selected for this study because they must be the products created with our ordinary aesthetic values and techniques, and thus may represent our people's unique culture. After all, the expression for a work should be based not on simple representations of a given object but on restructuring of diverse unique forms according to worker's subjective senses. A piece of clothing with the expression of traditional and formative must combine traditional aesthetics of tradition and form. The application of traditional and formative value of Korean pattern in clothing made to be adaptable for wear in our everyday lives. Today there various attempts to combine traditional aesthetics with modem design. Also, the development of unique Korean design aesthetics within the clothing will allow for a distinct elegance that can be recognized by the world know about the Korean culture through the high standards of our clothing.

• 한국의류학회지
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• 제33권1호
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• pp.115-126
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• 2009

This study is about the iconological analysis on woman and clothes of Richard Avedon's and Cindy Sherman's constructed photographies which have questioned about life and existence of woman and present new visions about woman in comtemporary society and culture. The woman in R. Avedon's disguises herself with clothes, while the woman in C. Sherman's changes herself depending on the circumstances. R. Avedon reveals the inside of woman and ego with his gaze. The woman in his photography is reborn as another-self and communicates with the viewer through her eyes. C. Sherman has cast doubts with a woman's point of view in the way of making herself as an object in her works. C. Sherman has presented a new way of thinking about woman's body and ego. The viewer gives feminity and identity to the woman in C. Sherman's photography who has kept asking a question about woman-herself. The identity of woman in the photography has been changed depending on what she is wearing, what she is doing and where she is. Like this, the clothes which she puts on becomes another-self and also expresses life and dignity of the woman.

• 복식문화연구
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• 제20권2호
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• pp.129-143
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• 2012

This study focuses on the application of collage techniques to contemporary fashion and intends to show that collage techniques have a significant influence on contemporary fashion, leading to a more creative design aesthetic through the combination of fashion and art. The author carried out an empirical analysis focusing on domestic and global fashion collections from 2000S/S to 2010F/W, fashion publications, and internet data, along with a literature review. As a result, the papier-colle approach, as represented by cubism, showed a creative surface effect through the texture of the paper itself by applying real paper and other materials directly to the clothing items. Second, Dadaist ready-made expressed a distortion of the material and freedom of expression by creating a collage with ready-made fashion items and daily necessities. Third, a photomontage expressed unique images by printing various images of photos that contrasted in perspective. In addition to this, beauty in dissonance and a new sense of space by a collage of disparate material. Fourth, decalcomanie was expressed by printing methods, giving a stable image of the symmetry of the perfect landscape as well as the unintended effect of coincidence in abstract images and particular textures. Fifth, assemblage as the representative collage technique of pop art introduced the overall object itself or modified form by combining it with fashion to express three-dimensional aggregate structures.

• The International Journal of Costume Culture
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• 제5권3호
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• pp.184-203
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• 2002

This study considers the fashion as an expressive object of mental value system in order to understand muitivocal value groups. Because the external behavior aspects and internal values of muitivocal value groups are getting more ambiguous in these days. This purposes of this study are as follows; first, this paper examines diversely how these groups affect modern fashion through analysis multivocal value groups after 1990s, and makes clear that various social, cultural, and economical values are important factors for changing symbolic standard connected with fashion. Second, it aims at expanding the positive recognition of the conflicts that exist among various values, and aesthetical recognition that overcome the discrepancy and such conflicts. For this aim, this paper analyzes the social and cultural aspects, aesthetic taste, life style of such groups focusing on Dink, Yiffie, Yettie, Bobos. We examine these groups' characteristics and their effect on modern fashion by categorizing them into Snob Look, Vintage Fashion, Unbalance Fashion, and Caports Look. This paper conducts the previous literature review and the practical analysis on periodical publications and Internet websites concerning fashion. Consequently, this kind of study is useful for providing a theoretical background that would explain the multilateralism in fashion, with uncertain in useful and culture, and changing the obvious confusion to another dimension of order.

• 패션비즈니스
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• 제17권4호
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• pp.40-57
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• 2013

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo's designs since 1980s. The figures in Bacon's paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo's designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo's works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.

• 한국실내디자인학회논문집
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• 제29호
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• pp.77-85
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• 2001

The change of society causes the change of art necessarily. The experiments of plastic art which as been done by avant-garde movements at early 20th century have pursued ″Object drama″ consistently as trials of more or less abstract drama. As these plastic arts have used genre or media like circuses, sports, variate, films, screen play, newspapers and a quick method which had not been considered suitable for conventional aesthetic plastic arts, these arts looked provocative and, these provocative plastic arts have ignored universality shown in conventional arts and have caused extreme ″sensation″ accordingly. As a result, abstract art based on style which is against aestheticism and naturalism has been generalized. This style does not deny customary laws of art wholly but it requires new concept. Having ignored traditional styles, a new compositive and responsive way of composition which does not deviate from tradition has been pursued. A new and general understanding of arts which do not deny all conventionally-effective standards extremely has been developed. In this regard, this study analyzes characteristics of Bauhaus Theater which has tried to apply new technology engineering to plastic art as an integrated concept of art and technology amongst the directions of development of provocation, innovation and revolution in case of the plastic art of stage painting, and analyzes how this influences on modern painting in terms of avant-garde arts reviewing the meaning of this theory.

• Smart Structures and Systems
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• 제30권1호
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• pp.35-47
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• 2022

Data-driven engineering is crucial for information delivery between design, fabrication, assembly, and maintenance of prefabricated structures. Design for manufacturing and assembly (DfMA) is a critical methodology for prefabricated bridge structures. In this study, a novel concept of digital engineering model that combined existing knowledge of DfMA with object-oriented parametric modeling technologies was developed. Three-dimensional (3D) geometry models and their data models for each phase of a construction project were defined for information delivery. Digital design models were used for conceptual design, including aesthetic consideration and possible variation during fabrication and assembly. The seismic performance of a bridge pier was evaluated by linking the design parameters to the calculated moment-curvature curves. Control parameters were selected to consider the tolerance control and revision of the digital models. Digitalized fabrication of the prefabricated members was realized using the digital fabrication model with G-code for a concrete printer or a robot. The fabrication error was evaluated and the design digital models were updated. The revised fabrication models were used in the preassembly simulation to guarantee constructability. For the maintenance of the bridge, the as-built information was defined for the prefabricated bridge piers. The results of this process revealed that data-driven information delivery is crucial for lifecycle management of prefabricated bridge piers.

• 한국의류학회지
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• 제47권1호
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• pp.1-16
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• 2023

The smart fashion industry is showing steady growth worldwide, which will create new value throughout the fashion industry and become an essential element for efficient lifestyles. This study attempted to examine the development trend of smart fashion products from a design perspective and present the direction of design as a fashion item incorporating smart technology from a functional perspective. For this purpose, the category of portable smart fashion and the characteristics of the research object were considered through current status survey and previous research review. Among smart fashion, accessories and clothing/fabric products that have been released thus far that apply portable fashion design principles are selected and its characteristics are analyzed. In addition, function keywords were extracted based on the product description provided by the manufacturer and the function-oriented types were classified to identify each type's design characteristics. Therefore, the area receiving the signal and the sensor size should be considered, as should the fashion accessory type that combines various materials and colors. The clothing/textile type requires a design that mainly focuses on functions related to bio-signal interactions.

• 한국조경학회지
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• 제37권2호
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• pp.78-89
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• 2009

본 연구의 목적은 도시경관계획의 효율적 실행수단 확보 차원에서 도시경관 유형화를 위한 기초자료를 구축하는데 있다. 이를 위해 국내 주요 학술지 논문과 경관계획 보고서 중 경관유형과 분류기준을 구체적으로 제시한 기존 연구를 분석하고, 이를 토대로 현행 도시계획의 근간이 되는 용도지역지구제에서 활용 가능한 도시경관 유형화 분류기준을 제시하였다. 연구결과는 다음과 같다. 첫째, 분석과 평가 관점의 경관유형화 방식은 생태학적 접근과 형식미학적 접근에 기반하여 경관요소들의 특성을 분석하며 이를 토대로 경관을 유형화하는 것이 큰 특징이라고 할 수 있다. 둘째, 우리나라 경관계획에서 보여지는 경관유형은 분석을 위한 경관유형과 계획을 위한 경관유형의 혼용에 의해 논리적인 경관유형 분류체계가 확립되지 않았으며, 이로 인해 경관관리대상에 대한 명확한 규정이 없다는 것이다. 이는 결국 경관관리를 위한 경관제어요소와 관리방안에 대한 구체적인 지침 부족으로 연결되고 있다. 본 연구에서는 경관계획 과정상의 효용성을 고려하여 활용 가능한 경관유형 분류기준을 크게 경관구성의 1차적 기준과 2차적 기준으로 제시하였다. 1차적 기준은 지형과 용도지역지구, 경관자원의 성격, 경관요소가 있고 2차적 기준은 경관계획 대상지 외부에서 경관을 구성하는 조망점, 조망점과 경관대상과의 거리, 도시공간의 형태적 특성 등으로 구분할 수 있다. 이를 이용한 도시경관 유형화는 도시 전반에 대한 경관관리가 가능하게 할 것이며, 향후 도시경관유형을 토대로 한 용도지역지구의 운용에 있어 기초자료로 활용될 수 있으리라 판단된다.