• Physical Therapy Rehabilitation Science
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• v.11 no.2
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• pp.245-252
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• 2022

Objective: This study aimed to investigate the abdominal muscle activity difference while performing the abdominal bracing technique focusing on inspiration (abdominal bracing group), the general abdominal bracing technique (general bracing group), and the abdominal hollowing technique (abdominal hallowing group) Design: A cross-sectional study design. Methods: Thirty-three healthy participants were recruited for this study. The participants were allocated to 3 different groups; Abdominal bracing group, general bracing group, and abdominal hallowing group. The surface electromyography was placed over the rectus abdominis, external oblique, and internal oblique muscles to collect the activation of abdominal muscles during the trial. Results: The muscle activity of the abdominal bracing group and general bracing groups was significantly higher in all abdominal muscles than in the abdominal hollowing group (p<0.05) Both rectus abdominis and external oblique muscles showed higher muscle activations in the abdominal bracing group over the general bracing group (p<0.05). However, the ratio of bilateral external obliques and rectus abdominis to bilateral internal obliques was highest when the hollowing technique was applied (p<0.05). Conclusions: The results of study showed the abdominal bracing technique that emphasized inhalation rather than the abdominal hollowing technique or general abdominal bracing technique increased the activity of the abdominal muscles. Therefore, this study is considered to be a data for effective training if the abdominal bracing technique that emphasizes inhalation is applied as a method to increase the activation of the abdominal muscles.

• International conference on construction engineering and project management
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• 2013.01a
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• pp.338-343
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• 2013

Integrated Project Delivery (IPD) as a delivery method fully capitalizes on an integrated project team that takes advantage of the knowledge of all team members to maximize project outcomes. IPD is currently the highest form of collaboration available because all three core project stakeholders, owner, designer and contractor, are aligned to the same purpose. Compared with traditional project delivery approaches such as Design-Bid-Build (DBB), Design-Build (DB), and CM at-Risk, IPD is distinguished in that it eliminates the adversarial nature of the business by encouraging transparency, open communication, honesty and collaboration among all project stakeholders. The team appropriately shares the project risk and reward. Sharing reward is easy, while it is hard to fairly share a failure. So the compensation structure and the contingency in IPD are very different from those in traditional delivery methods and they are expected to encourage motivation, inspiration and creativity of all project stakeholders to achieve project success. This paper investigates the compensation structure in IPD and provides a method to determine the proper level of contingency allocation to reduce the risk of cost overrun. It also proposes a method in which contingency could be used as a functional monetary incentive when established to produce the desired level of collaboration in IPD. Based on the compensation structure scenario discovered, a probabilistic contingency calculation model was created by evaluating the random nature of changes and various risk drivers. The model can be used by the IPD team to forecast the probability of the cost overrun and equip the IPD team with confidence to really enjoy the benefits of collaborative team work.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.14-32
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• 2016

This study examines the morphological expression type and formative characteristics of women's shoes designs that integrate 3D printing technology. The results of the study are as follows. First, the morphological expression types of contemporary shoes that integrate 3D printing technology express a structural form created by repetition. Second, it expresses a dynamic form, which combines organic curves that create an external volume. Third, it expresses a surrealistic form centered on an object with the creation of a unique shape that utilizes objects easily experienced in local surroundings. Fourth, it expresses a hybrid form on a partial derivation. Each of the other system's components are fused to create another beauty that develops a new value in a colorful variation on the shape of 3D printing shoes. The first formative characteristic of women's shoes designs that integrate 3D printing technology is continuity. This creates an invisible form of a new space through repetitive unidirectional layers with a gradual expansion of a unitary seamless curves. Second, it is an exaggeration. This exaggeration elicits an enormous aesthetic quality by structuring the outward space in the difference of the volume formed based on the maximization of a specific part and the volume of a line's atypical movement. Third, it is a decoration. It displays the beauty of a decoration that evokes a unique artistic inspiration by partial unification or a practical representation of a specific form. This can also be seen as superimposing a 3D printing figure that has an outstanding shape onto part of the fashion shoes. Fourth, it concerns a geometrical characteristic that formulates a new structure with rationality in combining basic shapes such as circles, triangles and squares with lines, hexagons and interconnected geometrical forms to create a multi-dimensional space for shoes in a systematic and unidirectional pattern.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.118-124
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• 2020

The purpose of this study was to explore the ecological aesthetic features and the implications for ecological landscape design by analyzing the design philosophy and ecological artworks of Patricia Johanson, an ecological artist. Literature review and a field visit were conducted to investigate Johanson's four art projects that express the functional purpose, artistry, and locality of symbiosis with nature and restoration of ecosystem habitats. As the results of analysis, first, Johanson's work created 'functional art work' and 'artistic infrastructure'. Second, the historical and regional characteristics were expressed artistically and symbolically. Third, Johanson is characterized by connecting humans and nature through the publicity of works of art, and raising the awareness of preservation of nature and environment among the community and children. Johanson's innovative works can provide inspiration for landscape architects pursuing functional and sustainable landscape design.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.911-922
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• 2007

In this study, for the purpose of correct viewing on the image of Africa and understanding of modem fashion, African image and art, the general characteristics of African costume, the background of fashion subjecting African image, and the trend according to ages were examined based on theoretical background. Then the researcher drew African image by analyzing the works in four 2005 S/S major fashion collections to designers and design factors. The ten voted designers' and brands' works in 2005 S/S collections had four concepts of African image; 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant' and 'Sporty Romantic'. The viewpoint of modem fashion on African image from the aspect of design, designer and fashion trend can be examined as below. First, African costume, which was religious and ceremonial, appeared to emphasize its esthetic side with decorative details in modem fashion design and designers competed to choose a method to harmonize tradition and modem style and by adopting these from occult to decorative meaning, Second, fashion designers presented city unpolished beauty of modem women to a special style and made african image to be recognized as a code of fashion culture by integrating it with modem people's mind to go back to the past and admiration for the purity of nature. Third, thanks to the instinctive vitality hidden in the primitive life, inspiration for creative design that is found in the esthetic mind of the Indians, foreign taste emphasizing ethnic trend, and admiration to naturalism due to the increase of concern over ecology, 'African image' led the beginning of 21C trend by being settled as a in fashion trend.

• Journal of Convergence for Information Technology
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• v.12 no.3
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• pp.214-221
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• 2022

The purpose of this study is to produce works with motifs from organic forms of nature and to try to drive various forms. As a research method, literature was investigated through rsearch in domestic academic jounals, and four hair sculptures that can be used easily in practice were produced by combining the organic forms and design concepts of nature. As a result of the study, first, the work was produced by applying the law of harmony and balance with the motif of the crescent moon. Second, the flow of wave waves was expressed by applying the law of repetition with the motif of waves. Third, the haze rising from the waterfall was expressed by applying the law of dissonance. Fourth, l tried to give the image of the sun announcing a new beginning by emphasizing the rising sun. As a result, it can be seen that the organic form of nature gives an embarrassing inspiration to create design. The limitation of this study is that the accuracy of producing works only with mannequins and producing the same image in the actual model should be limited, and as a follow-up study, research that can be used in the actual model should be continuously conducted.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.58-67
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• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.