• 건축역사연구
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• 제25권6호
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• pp.35-44
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• 2016

The purpose of this study is to identify the aspect of expression about the form of Shwedagon Pagoda as well as to find out its meanings. The aesthetic value of Shwedagon Pagoda appears as the worship and infinite respect to Buddha realizing its beautiful sacred symbol. The meaning of Shwedagon Pagoda is to progress in keeping pace with the specific flexibility of Buddhism in Myanmar developing Buddhistic diversity and accepting its active changes. As time passes, Shwedagon Pagoda has been transformed. It is because that Myanmar's architecture was developed independently being affected by India with the introduction of Buddhism, and accepted it through autonomous reinterpretation. Then, the function of the worship space surrounding Shwedagon was extended and its annexes and statues of the Buddha were built; its scale became larger. This study shows the comparison between Shwezigon Pagoda and Shwedagon Pagoda. This method of investigation reveals that the formal changes of Shwedagon makes it transform to concise composition and develop aesthetical component giving the sense of vertical rise.

• 복식
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• 제51권5호
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• pp.157-173
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• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.

• 한국가구학회지
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• 제20권4호
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• pp.374-387
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• 2009

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.

• 복식
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• 제59권1호
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• pp.119-135
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• 2009

The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.

• 건축역사연구
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• 제17권4호
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• pp.83-95
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• 2008

This study was firstly to reflect upon the background of the generation and the urban spatial value and significance of the medieval plaza. The main aim of this study was to extract the spatial determinants which give the great influence on the formation of the medieval plaza and in addition the endogenous rules and aesthetical grounds regarding the respective elements. Especially they could be applied to the design guideline. They are dimension(volume and scale), shape, elevation as the morphological elements and enclosure, proportion, grade difference, spatial sequence and plaza group as the spatial determinants and visual sequence, visual or spatial boundary, approaching axis and perspective effect as the aesthetic and visual elements and function(use), human behaviour as the social-behavioral elements and otherwise, for instance, plaza furniture, ground decoration and vegetation. This study was intended to analyze each elements based on the classical historical literatures and to suggest the planning conditions for composing the ideal plaza referring to the cases and literature review on the medieval plaza and finally is expected to contribute to the plaza design methodology.

• 한국주거학회논문집
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• 제14권6호
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• pp.125-133
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• 2003

The purpose of this study is to reveal the characteristics of Kan as a compositional unit in relation with its usage, building base, structural system, and roofing system in Seo Baek Dang and Gwan Ga Jeong. The results are as follows： Seo Baek Dang and Gwan Ga Jeong share a common characteristics： Kan module forms the plan to be 1：1 in shape and enables flexibility in usage and regularity in compositional aspect. In Seo Baek Dang, there are active level differences in base, room floor levels and column heights to achieve intended roof design while minimizing the deviation of module (500 mm) of four sides enclosing the an-madang (inner courtyard) and, in Gwan Ga Jeong, instead of differentiating levels, maximizing the module control (up to 1,560 mm) and lowering the roof slope are found. They are regarded resulting in a rather plane manner. Through a comparative analysis, it is found out that these two houses have a common characteristics of Kan to form a quadrate plan while they have differences both in conceptual and tectonic manner that is 'how to build a house' in similar conditions of region, period and society. In addition, Kan as a module is clarified to have a relative value that regulates both structural and aesthetical aspects.

• 복식
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• 제60권10호
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• 복식
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• 제56권1호
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• pp.81-96
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• 2006

Fashion is very superficial. However, it is expressed through the culture that is a cause of internal change and therefore its contents are defined by the cultural features. In this study, to study the aesthetic properties of the French fashion, the internal fashion contents are defined according to the cultural characteristics of France and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the French culture. Based on the cultural characteristics of France, the aesthetical properties of the contemporary French fashion can be analyzed as follows: ${\cdot}$Dualism is the internal contents of the French culture with multiple sources, and it implies that opposing values such as female and male, traditionalism and modernism, simplicity and decoration are coexisting. Simplicity is pursued but decorative elements are in harmony and new phase of time is reflected while certain style has lasted for a long period of time to become a tradition. Furthermore, a rational trend combining masculinity and femininity, simultaneously exist with a trend that emphasizes feminine image. ${\cdot}$Multiculturism is a mysterious feature that has adapted the oriental or other cultural factors into the forms, patterns, colors and material of costumes. It has also been reconstructed with the French and the modern tastes. ${\cdot}$Avant-gardism is pursuing a novel aesthetic value against the former value system. It recognizes the human body as an object of figurative arts therefore emphasizes the body with geometric shapes to deny the fixed-idea, or engraft new materials and technologies to express the futuristic aspects.

• 복식
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• 제57권4호
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• pp.18-29
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• 2007

Since its birth, "Little black dress" that has been prospering and reviving continually for 80 years, is always favored as classical fashion item. This study focuses on how the "Little black dress", regarded as the beginning of the modern fashion, could become an eternal item over a century by analyzing the aesthetical characteristics of it. Thus, we can better understand the modern women and aesthetic value of modern fashion. The precedented studies and literatures are reviewed for recognizing the development of "Little black dress," and the scope of this study is limited only after the year 2000. Also, fashion work collections and various domestic and international fashion magazines are analyzed demonstratively. After the Little Black Dress was born with the bullish black color in the year 2000, the aesthetic characteristics of the newly spotlighted Little Black Dress in the modern fashion are as the following. First is modernism. Modern style of black dress is appeared through simple and moderate expressions such as pursuit of simple line, minimization of decoration and exclusion of accessories. Second is sensuality that emphasizes flashiness of black by gloss or see-through fabric and exposing one's body parts or dress that exposes body's curves not only express women's physical attraction but also show off woman's social status or roles. Third is feminism. Ruffle, ribbon, flowing-like fabric, and rhythmical details express charms of sophisticated and trendy women as well as romantic image of girlish sensibility. Fourth is hybridism. Experimental and creative thinking like designers' unique re-interpretation of "little black dress," fresh view to sexuality, breaking up of the existing principle of clothing compositions give wholly new aesthetic value.

• 한국실내디자인학회논문집
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• 제21권1호
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• pp.68-77
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• 2012

Appreciating the aspect of modem architecture requires not only the comprehension of the nature of design and architects' ways of thinking and expression but also observers' views on buildings and their perceptive/cognitive stages. This calls for an in-depth study on the "system of phenomenological perceptions" that works as a new architectural experience system. The system of phenomenological perceptions makes it possible to specify the individual process of understanding architecture, that is, hands-on experiences, participations, feelings, perceptions, and cognition. The value of user experience and cognition has been emphasized by philosophical and aesthetical concepts as well. Therefore, in order to better appreciate the modern architecture, this study suggests theoretical consideration to "orientation and event" that are crucial elements in understanding a phenomenological view and materializing actual space formation. This offers the cognitive system with which we analyze modem architecture and comprehensive expressional methods. In other words, this study contemplates the system of phenomenological perceptions from an existential spatial perspective by structurizing the system of the orientation and the event in order to segmentalize users' current locations, potential directions, the relations with spaces, continual vie'wpoints as well as buildings' functions and interior and exterior division. The system of phenomenological perceptions helps understand and systemize modern architecture through a system based on relations between sensation, perception, cognition, sensitivity, and rationality. This creates a new cognitive system employing the concept of the orientation and the event, which is different from a normal cognitive system basing on the sense of vision. When observers appreciate space, they tend to relate the space to a certain event and to remember their experiences in it. During the process, they draw borders of the space in which the event takes place and give shape to their experiences including actions, movements, cognition and sensation. The process leads to the formation of "placeness," and here, the concept of the orientation comes in as the location and the center of the placeness. This study proves that a determined orientation coupled with individual experience and events settles the place ness; detailed elements in the cognitive system have close relations with one another; the orientation, actions, events, and places are the factors that materialize observers' architectural experience.