• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 복식
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• 제58권2호
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• pp.134-148
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• 2008

Methods of delivering products to consumers do not act as less important factor than creative activities to create new product designs. Mobilizing various psychological elements based on human instinct and desire, fashion industry presents a product as an object of envy, gaining viewers' attention. Here, the viewer does not simply take the product as an object to view, but also imagine transformation it will bring. The study of the cause and effects of the interaction, which is found in the relationship between "the viewer" and "what is viewed" is an important factor that needs to be identified in the phase of creation as well as in the aspect of delivery. The relationship between the perceiver and what is perceived features in designs, product advertisements, related articles, and fashion shows in modern fashion, serving as a medium that enables the humans, who must inevitably exist between the two poles such as mind and body, the subject and the object, the ego and non-ego, and the reality and an ideal, to communicate between the poles. Humans cannot do arbitrary acts or make arbitrary selections only as they access to foreign things through instinct, desire, or experienced perception, and they are sometimes positioned passive by things. In the background, as there are human dual characteristics in which they are expressed as the ego and another ego who exists inside of the ego, they not only view an object, but also become an object to be viewed. Many products in modern fashion, as the objects of reciprocal transposition, grow giving illusions to humans. Having a desire for such objects is human's instinct and normal act to keep the life balanced between the reality and an ideal, which is based on the activation of reality function. Furthermore, freely acting rather than ignoring or overcoming the desire may be the act of retrieving one's ownership to the ego.

• 보존과학회지
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• 제25권2호
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• pp.171-178
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• 2009

유구 이전의 안정성은 현재 개발되어 사용되고 있는 반수용성 우레탄 1 차 전사체와 2 차 최종 에폭시 생성물의 우수한 물성으로 볼 때, 박리제의 물성과 박리성에 의해 좌우된다. 본 연구에서는 계면활성제를 사용하지 않은 세 가지 형태의 자기분산형 박리제를 합성하여 이들이 나타내는 박리성과 물성, 박리 후의 상태에 대하여 연구하고자 하였다. 이 수용성 자기 분산형 에폭시의 그 간의 박리제에서 문제시 되었던 지속 기간을 5 시간에서 60 일 이상으로 개선하였으며, 30% 수용화 이상에서 안정한 박리성을 보이고 있고, 건조 전후의 표면 색도의 변화도 없었다. 계면활성화제를 사용한 박리제와 비슷한 결과로 박리압을 나타내어 15~50 kg/$cm^2$을 나타내고 있으며, 저점도의 폴리머 사용 시, 고형분의 함량을 높이더라도 백화 현상이 발생하지 않아 저점도형 박리제로 사용이 가능한 것으로 보인다.

• 보존과학회지
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• 제10권1호
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• pp.21-30
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• 2001

정향, 유향, 곽향, 청목향, 그리고 침향의 에탄올 및 휘발성 추출물의 항균력 및 살충력 실험결과, 정향의 에탄올 및 휘발성 추출물은 실험균주 4종(Mucor hiemalis, Aspergillus niger, Penicillium funiculosum, Trichoderma viride)에 대해서 강한 항균력을 나타냈으며, 유향의 휘발성 추출물은 실험균주 M. hiemalis, A. niger, P. funiculosum에서 강한 항균력을 보였다. 공시충 흰개미에 대해서 정향 에탄올 추출물이 접종 후 48 시간 뒤에 $100\%$ 살충력을 보였고, 청목향 에탄올 추출물은 72 시간 뒤에 개체를 $32\%$ 감소시키는 것을 확인하였다. 휘발성 추출물에 대한 살충력 실험은 흰개미에 대해서 정향 추출물이 48시간 내에 $100\%$의 사충력을 보였다. 넓적나무좀에 대한 살충력은 정향이 접종 후 7일 내에 $19\%$의 사충력을 보였다. 정향의 휘발성 추출물에서 9 개의 휘발성 성분을 확인하였으며, 정향의 휘발성 향기성분 중 가장 큰 농도$(92\%)$를 차지하고 있는 eugenol은 항균활성 물질로써 확인되었다.

• 보존과학회지
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• 제26권2호
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• pp.183-190
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• 2010

무황변 가역성 도자기 복원 재료를 위하여 우레탄을 제조하여 이용하였다. 이 저점도형 우레탄은 사용자가 강도 조절이 가능하도록 제조하였다. 이 우레탄 복원재는 매우 강한 접착 강도와 전단 강도를 나타내고 있으며, 그간 일반적으로 사용되어온 에폭시 복원재와 같은 충진성, 수축성, 도색성을 갖도록 제조되었다. 특히, 현재 일반적으로 사용되는 에폭시계 복원재의 문제점인 황변 현상과 비가역성 문제를 해결함으로서, 도자기의 복원의 항구성과 지속적인 안정성을 부여할 수 있을 것으로 보인다. 또 본 우래탄 복원재를 이용하여 도자기를 직접 적용 복원하였으며 복원 후, 이를 재 용해하여 복원제를 완벽히 제거하는 과정을 통하여 복원의 가역성도 보이고자 하였다.

• 한국의류학회지
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• 제31권11호
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• pp.1598-1610
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• 2007

The knit design of this study was developed from reconstruction of Gustav Klimt images including gorgeous colors, symbolic lines, patterns and decorations, and the purpose was laid at making of unique, creative costume image with modem sense and adding artistic value on crochet knit wears. As for the contents and method of this study, We analysed formative aspects of Gustav such as line, color and shape Klimt in his art, and reviewed the cases where his works had been employed in modern costume. The conclusions are as follows; First, painting is important motif for contemporary costume design, and according to the individual thinking and expression, can be a major momentum for development of original design. Especially the organic lines and decorative patterns of Gustav Klimt paintings were suitable for rich decorative motif of costume design. Second, the unique colors of Gustav Klimt paintings can, if introduced to costume, allow new color combination. Third, crochet technic, by the texture of material, can present rich expression even with the basic knitting only. The embroidery metallic thread which is the main material for this study, was good for expression of gorgeous and classy image, in spite of the difficulties from its typical luster and embossed feeling. And the mohair, used as decorative motif, allowed more three dimensional expression with its rich voluminous and tangling property. Fourth, in applying Gustav Klimt paintings to costume design, other technics such as knitting, beading, applique, and patchwork helped creation of more unique clothes, presenting possibilities of rich artistic expression.

• 건축역사연구
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• 제17권6호
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• pp.67-86
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• 2008

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.

• 디지털융복합연구
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• 제13권2호
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• pp.325-331
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• 2015

본 연구는 전통 인물화의 현대적 정체성 확립과 현세적 변용을 위한 대안을 모색하고자 웹기반에서 개방적이고 다매체성을 통해 의사소통에 대한 근본적인 해법을 탐구하는 디지털 스토리텔링을 적용하였다. 구체적인 예시로 김홍도의 도석인물화를 선정하고 작품 속에 담겨있는 내러티브와 예술적 의의를 탐색하였고 김홍도의 신화적 스토리를 디지털스토리텔링 방식으로 전개하였다. 이러한 과정에서 전통 인물화에 대한 내러티브 기반의 디지털 스토리텔링의 개발전략을 제시하였고 그에 따른 기대효과도 확인하였다. 전통 인물화에 대한 스토리텔링은 역사인물이 갖는 역사적, 예술적 가치와 의미를 찾아내고 그것이 현시대에 공감적인 의미를 지니도록 시대 반영적 해석 및 변용을 하는데 유용한 접근이 될 수 있다.

• 디지털융복합연구
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• 제14권9호
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• pp.437-446
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• 2016

본 논문은 디지털과 IT로 대변되는 현대의 융복합문화속에서 사회 문화적 요인이 반영된 변화를 요구받는 가구디자인의 특징에 관해 연구하고자 한다. 이를 위한 구체적인 방법으로서 기능주의로 대변된 산업혁명 이후의 디자인과 20세기 이후 다원화된 사회의 모습을 담아냈던 멤피스 그룹의 사례를 보려 하며 이를 토대로 융복합적 가치관이 보편화된 현대사회 속에서 변화를 요구받는 가구디자인의 모습을 조명하려 하였다. 이렇듯 미래의 가구디자인을 예측하는데 있어 사회구성원들의 가치관이 수용된 사회문화적 요인은 반드시 주지해야 할 중요한 요인임을 밝히는데 본 논문의 목적이 있으며 현대가구디자인의 주요 요소가 되었음을 인지하여 이를 바탕으로 폭넓고 깊이 있는 디자인 연구가 이루어져야 할 것이다.

• 복식
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• 제60권10호
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• pp.1-15
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• 2010

A Korean knot is one of the ornamental elements that our ancestors used intimately in their daily lives, and the diverse forms and structural features of the Korean knot have sufficient creative and aesthetic value for it to be recognized as one of beautiful products that was relished by individuals of the times. Starting from two strands, Korean knots make unique forms as they are overlapped or plaited, crossing each other in many ways. The forms of Korean knots were given names such as "nabi maedeup"(butterfly knots) and "gukwa maedeup" (chrysanthemum knots), in reference to things in the surrounding environment that were perceived as being similar in their appearance. It is considered that with their unique structure, such Korean knots may provide a good motif for creative design. As well, it is believed that combining the traditional beauty of Korean knots with a contemporary sensibility will lead to the creation of truly forward-looking design. Against this backdrop, this study aims to inquire into and analyze the formative characteristics and aesthetics of Korean knots, with an eye to their use in future design. In addition, it aims to help to put such historical knotting practices into practical and functional use in the future, through a study of previous uses of historical knotting practices with a modern sensibility. It is thus expected that this work will contribute to the inheriting and development of traditional culture, and ultimately to enhancing the status of Korean design in the world.