• Journal of the Korean Operations Research and Management Science Society
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• v.32 no.2
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• pp.17-40
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• 2007

Most research on web site design has focused on technological factors, while visual aesthetic factors have been considered less important. In contrast, this study focuses on visual aesthetic factors in web site design. Findings of this study can be summarized as follows : (1) The result of SPSS-factor analysis shows that there are 3 distinct factors, 'classical aesthetics', 'expressive aesthetics', and 'usability' 'Classical aesthetics' and 'expressive aesthetics' can be described by visual aesthetic design, 'Visual aesthetic design' can be distinguished from 'usability'. This conceptual confusion relating to 'usability' and 'visual aesthetic design' can be clarified by these findings. (2) As a result of multiple regression analyses, 'classical aesthetics', 'expressive aesthetics', and 'usability' have a positive influence on 'interactivity' and 'web site evaluation'. This research clarifies the concepts of 'expectations' of Grier [18] and 'engagement' of Rosen and Purinton [33] as the 'interactivity' between users and web sites. Furthermore, this research suggests a valid model with high $R^2$(interactivity, 48% : web site evaluation, 68%). (3) Empirical tests show that the differences among users in 'entry point' are related to the characteristics of web sites and the personal characteristics of users. The differences among users in terms of 'scanning time' are closely related to the attitudes and evaluation tendencies of users with respect to web sites. These findings could contribute to the 'search phase' of the Faraday model [16], enabling it to be more precise and extensible. The managerial implication of this study is that customers' preferences regarding web site designs are differences, as their preferences are based on their individual characteristics. Therefore, marketing managers should consider promotional tools on web sites that are relevant to the target market. An optimal strategy for web design could be a carefully-selected combination of factors that are relevant to the 'interactivity' and 'evaluation' of web sites. Additionally, if marketing managers want to attract more favorable attitudes and more affirmative evaluations from users, web sites should be designed so that they are understood more quickly by users. finally, this study suggests that 'good design' for web sites depends on understanding how to attain the appropriate balance between 'classical aesthetics' and 'expressive aesthetics', based on the target customer.

• Archives of design research
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• v.13 no.3
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• pp.7-16
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• 2000

Aesthetics undertakes important roll in design as a competitive factor. The importance of aesthetics can be found in experimental aesthetics, Gestalt psychology and design related literatures. These literatures suggest that, besides the importance of aesthetics, many other aesthetic factors would affect consumer reaction(recognition, emotional reaction, meaning), but the study is still in insufficient condition. Hense, this study tries to give a guideline -'how to design symbols'based on the apprehension of what kind of design is well recognized(correct recognition), gives positive emotional reaction(affect) to customers, and moreover, what sort of aesthetic factors affect these reactions by analyzing existing symbol designs.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.339-346
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• 2002

This study analyzed the works, introduced in the collections of Yohji Yamamoto in an aim to identify traditional aesthetic and design concepts. As the data to study the concept and expression of the designer, fashion photographs were gathered in a focus on collections since 1990's. The traditional aesthetic expressed in the works of Yohji Yamamoto were characterized by the external aesthetics and the internal aesthetics. The traditional aesthetic of external aesthetics were classified into the plasticity and the wearing, and those of internal aesthetics were divided into the moderation, expertness and aesthetic exclusion. The plasticity was extracted into line, form and color. The wearing was presented artist of purpose through the mutual text. The moderation was based on the moral goodness and the aesthetical beauty. The expertness represented the fitting method and mutual reaction of color. through the natural beauty. The aesthetic exclusion was expressed through simplicity, loftiness, and unbalance.

• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.686-693
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• 2022

The rapid development of the fashion industry in contemporary society has also caused various problems such as environmental pollution, material excess, and spiritual poverty. Accordingly, traditional Chinese Taoist aesthetics can solve the spiritual poverty that people are facing today, and the spiritual pursuit of returning to innocence. This study focuses on the works of first generation Chinese designer Ma Ke as an example to discuss the embodiment and application of Taoist aesthetics. The results are as follows: First, Ma Ke's works emphasize the value of handicraft through traditional handcrafting and natural fibers, which reflect the beauty of simplicity and the non-action of Taoist aesthetics. Second, the works acknowledge nature by using natural materials and retaining their original appearance, which embodies Taoist aesthetics of the beauty in non-action and living in harmony with nature. Third, the collections reflect a critical attitude toward the fashion industry and consumer culture by rethinking consumerism and advocating environmental protection, thus propagating the beauty in simplicity and the harmonious life with nature in Taoism aesthetics. In conclusion, Ma Ke's designs incorporating sustainability and handicraft exhibit the core features of Taoist aesthetics, including the beauty in simplicity, non-action, and living in harmony with nature while exploring the relationship between modernity and tradition, man and nature, and handicraft and fashion. This research can contribute to understanding Ma Ke's works in promoting critical thinking about the fashion industry through Taoist aesthetics.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.38-48
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• 2012

Since the late 20th century, sustainability is one of the most pressing concerns for the security and well-being of our society when we are witnessing the rapid change in urban landscape patterns. Responding to this issue, the discipline of environmental designs including landscape architecture has also attempted to realize this concept in various ways. The purpose of this study lies in introducing and redefining the meaning of ecological aesthetics as an alternative "sustainable" design theory. This paper theoretically discusses about the role of aesthetics in landscape design and the relationship between landscape and aesthetics to emphasize the importance of ecological aesthetics. Based on extensive literature review and analysis, the study attempts to redefine the characteristics of ecological aesthetics: an emphasis on cognitive process in landscape appreciation, environmentalism, unrestricted from style, and nonnative aesthetics. Having defined the characteristics, this study also finds several design subjects to adapt the concept of ecological aesthetics to actual design practice. Founded on the big idea "make nature visible", the defined subjects are ecological functions, temporality of landscape, and history of landscape, security, and accessibility. Also, this study stresses the importance m the creativity of the design(er) in order to effectively represent these subjects to the public.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.71-80
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• 2017

Landscape design pursues a balance among different values in our society, but aesthetic value and ecological value in landscapes must bring complex relationships into harmony. Ecological aesthetics can be defined as a domain of study that manages the relationship between landscape ecology and landscape aesthetics to create aesthetically attractive and ecologically beneficial landscapes. Despite the importance of the research area, there has been limited empirical research addressing ecological aesthetics. This article aspires to connect and expand the conceptual framework to the research methodologies of ecological aesthetics. First, this study suggests a conceptual framework that examines the relationship between landscape and perceptual process in the context of ecological aesthetics. This framework stresses the importance of information and design intervention as moderators in this relationship. From this framework, three key topics in ecological aesthetics arise: (1) correlation between ecological integrity and aesthetic preference, (2) "compromised" design and management intervention principles that enhance aesthetic pleasure and still have biodiversity, and (3) the impact of information intervention in aesthetic experience. The framework indicated three domains affect each other; thus, when one domain is studied, the other two need to be considered. Secondly, several theoretical and empirical studies on ecological aesthetics will be reviewed from a methodological point of view. This will help to consider ecological aesthetics research, which has primarily been limited to theoretical discourse in empirical research.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.51-61
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• 2014

Aesthetics of use for modern people can be regarded as being weighted toward universal and rational function since it has focused on an 'automation and efficiency' and 'smartness' in terms of technological and human engineering position. Thus, aesthetics of use as an individual agent has remained in minimal level. This study attempts to seek conceptual model of design regarding the behavior of users from the systematization of critical theories about the usability. To do that, 'HERTZAIN TALES' written by Anthony Dune and the concept and system of Droog Design have been used as a core standard. In line with the various experiments by artist groups such as Fluxus, Memphis group and the work of product semantics, and inherent characteristics of Droog design, which has surfaced from the 1990s, concepts that has mentioned in the Hertzain tales have been organized into main texts. By overcoming cognitive bias inherent in the material culture and by overcoming an existing usability based on immateriality and dialectic solution, the autonomy of critical design and instrumentality of Droog design have been systemized. By interpreting the design aspect of 12 pieces that have been submitted to the RE;MIND section, the core of this study, it has been confirmed that conceptual and critical design's aesthetics of use From the interpretation of the design aspect of 12 pieces that have been submitted to the RE;MIND section, the core of this study, it has been confirmed that conceptual and critical design's aesthetics of use has established the autonomy and independence of the behavior of users, created functional articulation of materials and secured new conceptual model and thus, could be an effective methodical clue for creating an emergent design.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.61-64
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• 1999

Environmental design should be based on the positive theory, a researcher structured symbolic aesthetics on the basis of positive perception theory. Symbolic aesthetics by ecological theory of perception, human preference is related to existence and the formation of place-identity and cognitive map is dealt importantly in this study. Symbolic aesthetics is a study on environmental meaning and a researcher understood the operation of environmental meaning by regarding symbology as a methodological frame and defined architecture as a visual language system after discussing the importance of signified.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.39-47
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• 2007

In comtemporary interior design, hybrid form causes cognitive turnovers of aesthetics. Especially it offers much possibility to expression techniques in interior design and works as compound system, symbolic aggregate that makes and expands various meanings. The aesthetic ideology of hybrid design can be interpreted through the philosphic concept of art, sublime, reception, representation and explains expression techniques and characteristic in interior design through various transformation and meaning conversion. The expression techinique that is a form of openness, transcendental interpretation that exceed a dupilicate of meaning. can be classified as oxymoron, defamiliarization and interface. The characteristic that is based on those expressions appears as use of complex codes of visual images, decoding strategy, intertextuality of meaning. This research attitude can explain the thinking method of interior design by defining the epistemological scheme that is basically involved in expressional styles with characteristics of hybrid aesthetics. In order to be recognized as the object of aesthetics, hybrid has to be approached by interpretational methods of expression techniques. Consequently the characters of expression techniques in hybrid design can be investigated as one of the methodology in interior design plan.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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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.