• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korean Society of Costume
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• v.4
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1475-1486
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• 2007

This study aims to develop knitted ware design to meet desire to express diversity in the modern fashion design so that we designed knitted ware by applying african geometric pattern and color to suggest new knitted ware design. We collect data about african texture pattern through technical books, publications, internet, and preceding research and visit and investigate the African museum. We investigate knitted Jacquard texture through preceding research and collect sample and data which is insufficient in the data source. The conclusions in this study are summarized as follows: First, African textile pattern is formulated with animism based on their religious view of art for a basis and African regards nature like animal and plant as a motive and interprets nature in the so that they can create symbolized geometric features that constitute African texture pattern. Those patterns is composed of extremely geometric figures so that they we fit to apply for color jacquad knit design. Second, color knitted jacquad can be distinguished by knitting method and status of knitting as 7 kinds of techniques such as Nomal, Bird'eye, Floating, Tubular, Ladder's back, Blister, Transfer Jacquard, and as a result of preceding research and knitting texture directly, jacquard technique makes different texture under same condition like consistent spinning rate and same crochet hook. Third, Bird'eye Jacquard used generally to make knitted ware and Ladder's back Jacquard, Tubular Jacquard used to make knitted ware light are fit to apply them to 7GG and 12GG machines. We design a cloak as a outer garment, a coat shaped like one-piece dress and a coat with hood by using Tubular Jacquard which can make thick texture and design a jacket, a skirt and a one-piece dress by using Bird'eye Jacquard. we make a light and flimsy one-piece dress by using Ladder's back Jacquard. Fourth, we apply the contrast of $4{\sim}6$ color and line and the contrast of texture and raw material to jacquard in order to emphasize texture property and visual property.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.30-39
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• 2015

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.270-282
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• 2009

The purpose of this study was to inquire into lounge wear and Jeff Koons and to design lounge wear in which the works, Balloon Dog(1994$\sim$2000) and Hanging Heart(1994$\sim$2006), of Jeff Koons was applied. The concept of design was appealed as sensuousness, activeness, and comfort. The target of design was teens and those in their 20s. Knit or woven fabric in 100% cotton/silk and cotton blended was selected. The design had fitted silhouette and the items were bras, panties, pajama pants, shorts, robes, slippers etc. Adobe Illustrator CS2 and Adobe Photoshop CS2 program were used for the design. In the lounge wear in which Balloon Dog applied, main color was red, blue, and green with pale tone and frills and pleats were selected for the details. Elastic blended fabric was used for the comfortable. Variety application of color and patterns were conducted for rhythmical visual. In the lounge wear design in which Hanging Heart applied, main color was also red, blue, and green with pale tone. Halter neck and robes were selected for the sexy looking. Cool and soft feelings were pursued through use of cotton and silk blended fabrics or stripes patterns. The result of this study may give valuable information to merchandisers and designers who develop lounge wear. It may also provide designers who use computer program such as Adobe Illustrator and Adobe Photoshop as design tools with useful examples.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.87-105
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• 1998

Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.

• The Journal of Industrial Distribution & Business
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• v.9 no.2
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• pp.73-80
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• 2018

Purpose - The purpose of this study is to clarify the difference of store attributes of Korean consumers and to analyze it's influence on consumer satisfaction in duty free stores which gain ground inch by inch in the distribution chanel. And it is to find discriminative result as compared with foreign consumer. Research design, data, and methodology - Subjects for the quantitative study, quota sampling was adopted in the Lotte, Shilla downtown and airport duty free stores from the first to 15^th December 2016 and 177 questionnaires from Koreans who had purchasing experience in off line duty free store were analyzed. The data was analyzed by using factor and reliability analysis, descriptive statistics analysis, the independent sample t-test and multiple regression analysis. To test consistency, Cronbach's alpha was used. Results - The result were as follows; 1. Korean consumers consider the importance of store attributes in duty free stores in order Product, Economic Feasibility, Convenience, Promotion, and Accessibility. 2. The meaningful impactive factors of duty free store attributes on consumer satisfaction turned out Product and Promotion. 3. These results show meaningful distinction between Koreans and foreigners in terms of consumer satisfaction in duty free stores. Conclusions - A marketer who is working for duty free store consider now that price benefit can not give strong impact to Korean consumers more and should concentrate on various brand assortment even including private brand. In terms of promotion, most duty free shops put special stress on foreign consumer's wants now as highly increasing of Chinese travelers but Korean consumer's sales portion and number of visitor also are steadily increasing. Therefore, a duty free marketer should prepare the Korean-oriented services with more enhanced promotion strategies for individual and group travellers, for example, a mileage service, VIP room and social network system to satisfy Korean consumers. In order to get satisfaction from Korean consumers, it makes effort on product and promotion than accessibility, price and convenience. Due to high level influence, further study is needed to enlarge to on-line market and to develop private brands for duty free stores.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1025-1033
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• 2016

It is important to compare and analyze digital camouflage from different countries to promote the continuous development of a camouflage combat uniform. This effort should lead to developing a camouflage pattern suitable for the domestic environment and expand its performance of night camouflage. This study investigates digital camouflage by comparing camouflage fabrics sampled from Korea and eight other countries (USA, UK, Singapore, Croatia, Colombia, and Mongolia) in terms of textile, near-infrared reflectivity of colors, and color distribution. First, the fabric construction of camouflage from Korea, UK, US, Singapore, Span, and Croatia were all characterized by derivative plain weaves, while derivative twill weaves were generally used in Croatia and Mongolia. It is assumed that derivative plain weaves are adopted to improve the tearing strength of fine yarns. However, twill weaves enhance the flexibility of coarse yarn fabrics. Next, reflectivity change was analyzed based on camouflage color. The reflectivity of a combat uniform in Korea, Colombia, Croatia, and UK increased before 780nm in the visible light range, but remained consistent from 800nm which falls under the near-infrared range. In contrast, camouflage samples in Mongolia, Span, Singapore and USA showed a gradual increase of reflectivity in the near-infrared range. Finally, the color distribution analysis of digital camouflage found that camouflage of countries with desert or woodland combat settings dominantly contained brown colors. It indicates the color pattern consideration of different geographic regions is important to determine camouflage performance. This research involves basic study that will have implications for developing patterns and colors suitable for the South Korean environment and expand its use as night camouflage that helps achieve continuous improved camouflage performance.