• 한국실내디자인학회논문집
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• 제22권5호
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• pp.68-77
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• 2013

'The Third space,' which is the concept that embraces sociological, spatial, and marketing concepts, refers to the place which is other than the home and the workplace and which is a comfortable frequented place where meditation, psychological relaxation, and social needs can be satisfied. 'The Third space' has the characteristics of comfort, openness, interactivity, playfulness, and diversity. In modern times, most of consumption spaces play the role of 'the Third space,' and the typical example is $Caf{\acute{e}}$. $Caf{\acute{e}}$ began from its origin with the characteristics of 'the Third space,' and recently it has become the complex cultural space of urban dwellers. $Caf{\acute{e}}$ as 'the Third space' has the characteristics of a healing space, communication space, personalized space, value-expressive space, culture and consumption space, nomad space. Such characteristics of $Caf{\acute{e}}$ are well represented in the cafes around the regions where 'street culture' has recently been formed. As examined through the examples, $Caf{\acute{e}}$ as 'the Third space' can be more strategically produced by establishing themes through storytelling, giving spatial identity through style creation, diversifying the sequence through complex space organization, and establishing interaction devices through experience elements.

• 대한가정학회지
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• 제20권4호
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• pp.13-22
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• 1982

While the women of the Korea Dynasty wore hat(笠子) and Mongsu(蒙首) on top of it when going out, the Yi Dynasty, due to more strict Contucian ethics and isolated way of life, had seen the development of the covering clothes, rather veil, for avoiding the opposite sex with diversity and both men and women began wearing PHO(coat), a Korean topcoat over the head and thurs called Changots, but originally PHO for men was named Changyi a men's outer coat. Neuwul(羅兀), like Mongsu(蒙首) of Korea Dynasty was a thin black hood worn on top of the Wowllip or a kind of skirt draped over the head and the latter was called Changots, very similar to Sgaechima, a kind of long hood formally worn by women. Meanwhile, local women wore a long veil with no arm sleeves dubbed Cheunyi(薦衣) But since western civilization and culture landed on Korea around the end of the 19th century, the women's social status has been raised to almost the same level with men and the way of life has changed towards openness, in which men and women have almost daily contact with one another, so these days we can hardly find such veil style covering clothes around us.

• 디지털융복합연구
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• 제7권3호
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• pp.137-146
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• 2009

This paper aims to propose a framework of content creating group with creativity under new convergence environments. The framework is built based on content concept hierarchy(deep/surface) relating with the creativity of group members. The diversity of group members(potential creativity) decrease and change into creative abilities in one unified view at each content concept hierarchy in time. To do this, three methods of building a creative group(interaction-base, direction-base, hybrid) are proposed. Cooperating processes and operators are designed to promote creative abilities in the content producing group. These cooperations are considering new media convergence industry's job road map(IPTV) and fundamental content attributes(semantic, narrative, discourse). In the framework, creative content is produced with the help of member's cultural openness, media richness and synchronicity, hierachical adaptability on dissimilarity. Deep level creativity of cognitive semiotics on moving image content is composed of psychological, transformational, situational creating abilities in the structure of group members. Designing analogy, metaphor, symbol operators help members to traverse deep structure of content concept hierarchy. Our framework has strong points to relate fundamental content deep structure with structure of content producing group and to induce creativity on cognitive structure of human being.

• 공학교육연구
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• 제17권1호
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• pp.50-56
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• 2014

본 연구는 설계교과목에서 팀 프로젝트를 수행한 학생들을 대상으로 팀의 성격구성과 팀 창의성 간의 관계를 파악하기 위해 수행되었다. 공대생 249명, 총 48개 팀을 대상으로 성격 5요인에 대해 성격요인 상승(TPE) 및 성격요인 다양성(TPD)이 팀 창의성과 어떤 관계를 갖는 지를 알아보았다. 그 결과, 외향성과 개방성은 성격요인 다양성(TPD)이 팀 창의성과 관련이 있는 반면, 성실성, 호감성, 신경증은 성격요인 상승(TPE)이 팀 창의성과 관련이 있었다. 본 연구결과의 제한점과 후속연구를 위한 제언이 논의되었다.

• 한국산림과학회지
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• 제103권3호
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• pp.321-338
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• 2014

천연기념물 제 432호 제주 상효동의 한란 자생지(39 ha)를 대상으로 2013년 10월부터 2014년 2월까지 생물(식물상, 식생다양성 및 임분 구조) 및 비생물 환경(미기상, 수관열림도, 임내 광량 및 토양 온 습도)의 특성을 분석하였다. 한란 자생지의 일평균온도($5.7^{\circ}C$)는 서귀포시 보다 $3.3^{\circ}C$ 낮았고, 일평균습도(75.8%)는 서귀포시 보다 15% 높았다. 토양 온도는 평균 $16.5^{\circ}C$, 토양습도는 평균 37.3%, 그리고 낙엽층 두께는 평균 4.3 cm이었다. 수관열림도 및 임내 광량의 평균은 각각 15.5%, 및 $8.5mol{\cdot}m^{-2}{\cdot}day^{-1}$ 이었다. 한란 자생지 보호구역 내 관속식물은 총 221 분류군이며, 희귀 및 멸종위기식물로는 한란, 죽백란 및 꼬리족제비고사리 등이 확인되었다. 식생다양성 평가 결과, 구실잣밤나무군락 등 총 6개의 식생단위가 분석되었다. 조사구역의 임분구조는 구실잣밤나무가 가장 높은 밀도(1,777 개체/ha) 및 흉고단면적 ($90.3m^2/ha$)을 나타내었다.

• 복식문화연구
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• 제17권4호
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• pp.600-615
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• 2009

$21^{st}$ century post digital society orients co-existence, fusion, and blurring boundary than conflict, differentiation, and boundary, and makes a try liberal combination of various different objects. Furthermore, radical development of science and digital equipments offer technical possibility that could combine various fields. Hence, many different departments demolish their boundary, and combine for development of multi-functional and complex shape's products. For job-nomads, fashion attempts to combine with architecture, furniture, daily necessities, and digital equipments spontaneously. This paper aims at consideration about the blurring phenomena expressed in complex fashion space of $21^{st}$ century throughout empirical fashion photographs analysis, which show combination among fashion and various different fields. Blurring boundary phenomena of complex fashion space are classified with 4 parts as follows as: 1) furniturizing, 2) wearable dwelling, 3) lumiduct, 4) becoming fashion. Each parts are examined 8 aesthetical characteristics such as movement and lightness, hyper-link and openness, immateriality and inter-activeness, and diversity and ambiguity. $21^{st}$ century fashion has changed more simple and light, and creates new form throughout combination with many other fields, and enlarges its function and sphere. I think this paper would help certificating practical use of fashion space as multiple and complex space, and makes contribution to forecast about fashion development of the future and offer inspiration about creative and innovative fashion design.

• 패션비즈니스
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• 제24권4호
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• pp.144-160
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• 2020

Today, the development of innovative technologies is accompanied by changes in the industrial structure and the Big Blur phenomenon, where the boundaries in various fields are blurred. The purpose of this study was to view the Big Blur phenomenon as a big paradigm shift in the 21st century and derive environmental changes and characteristics of the Korean fashion market. The research method included an analysis of the fashion brands after 2015. Through this study, we intended to establish a framework for understanding the changes in the fashion market from the perspective of Big Blur and discuss the direction of brand marketing. The research results showed the hyperlinks, connectivity, openness, homeostasis, synchronicity, mobility, interactivity, and brand experience of online and offline spaces beyond the boundaries of virtual space and offline physical spaces such as online physical and spatial viewpoints. It also showed the characteristics. The characteristics from the socio-cultural point of view were characteristic of diversity, mixture, coexistence, composability, and pluralism beyond the traditional socio-cultural and regulatory scopes. Hip hop fashion, street fashion, unisex, genderless, androgynous fashion, and kid fashion are the backbone of the Big Blur and are becoming important factors in fashion. The characteristics of the market and economic viewpoint are prosumers that play roles both as producers and consumers. It shows the extensibility of consumers as producers, the cohesiveness of producers and consumers, the cooperation, and the interconnectivity.

• 복식문화연구
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• 제17권1호
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• pp.105-119
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• 2009

The purpose of this study is to grasp the aesthetic characteristics of the retro romantic fashion. As a result of study, three artistic characteristics of the retro romantic fashion were presented. First, retro romantic fashion has an exaggerated formativeness. Retro romantic fashion has overcome the confinement of the present to imitate the splendor and decorative style of the past which results in exaggeration. Exaggerated costume tends to be spaciously bigger and emphasizes one particular part which offers implicated significance for the space between the body and the costume. A new visual fashion is created through this space. Second, retro romantic fashion encompasses gorgeous decorativeness. From an artistic point of view, decorations are part of impulsively formulated art. Artistic effects of such decorations are uniformly confirmed in various artistic states. Therefore, through gorgeous decorations, retro romantic fashion rejects artificiality and lack of sensitivity for new effects of aesthetics through expression of stronger artistic and spiritual desires. Third, retro romantic fashion expresses pluralistic retro. The current society has left the formalities of the modernism for a pluralistic society where openness, diversity, and uniqueness are respected. Such components of the pluralistic society are repetitively used in fashion. Time reflective retro romantic fashion is being recreated by borrowing images rather than replaying the historical contents, with the style, silhouette, and specific items that swayed in the past, being combined with modern materials, techniques, and designs. Literature review were conducted for this study. Literature review on retro romanticism encompassed resources on aesthetics, literature and art, including national and international fashion related literatures.

• 디지털융복합연구
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• 제18권10호
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• pp.389-396
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• 2020

본 연구는 어린이들의 창의적인 놀이 행위를 위해 특정한 물리적 공간을 활용하여 사용자가 제공할 수 있는 다양한 관점에 대해서 디자인하기 위한 필요 요소에 대해 조사하고, 주변 공간과 그 환경에 그 결과를 효과적으로 적용하는 방법을 연구한다. 놀이 공간을 효과적으로 디자인하기 위한 선호 요소를 분석하기 위해서 AHP 분석 방법을 활용하였다. 다양한 국내외의 놀이 공간 디자인의 사례 조사를 통해서 주요한 키워드를 도출하였으며, 각 키워드를 그룹핑하고 상위 개념의 키워드를 도출하였다. 이를 통해서 최종 도출된 14가지의 키워드를 AHP를 활용하여 각 요소별 쌍대 비교한 결과를 통해서 놀이 공간을 디자인하기 위한 선호 요소에 대한 우선 순위를 도출하였다. 분석 결과 놀이 공간의 형태적 속성에서는 "개방성", "안전성", "다양성" 등의 순서로 선호도가 도출되었으며, 놀이 공간의 콘텐츠적 속성에서는 "모험성", "오감 요소", "시각 요소", "상호작용성" 등의 순서로 선호도가 도출되었다.

• 융합보안논문지
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• 제15권6_2호
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• pp.37-44
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• 2015

사회구조의 변화에 따라 범죄연령의 변화도 발생하며, 범죄종류와 형태도 다양하게 나타나고 있다. 이에 대해 본 논문은 에밀 뒤르껭(E. Durkheim)의 아노미(Anomie) 이론을 접목하여 설명하고 있다. 아노미는 이중규범 또는 규범이 없는 상태를 의미한다. 즉, 기존의 지배적 규범이 약화되면서 새로운 규범이 정립되지 않았을 때 무규범 또는 이중규범 상태가 되어 사회적 혼란 상태를 야기 시킨다고 하는 것이다. 정보통신기술의 발달로 인한 SNS의 보급과 활용은 사회적 규범을 약화시키며 온라인상의 규범은 정립이 미약한 상태이다. 이러한 규범의 혼란 상태에서 청소년 비행은 증가하여 나타나고 있다. 소셜 미디어는 전파성, 개방성, 접근성, 관계성, 콘텐츠다양성 등의 특성을 갖고 있다. 이러한 소셜 미디어는 그 자체가 일종의 유기체처럼 성장하기 때문에 소비와 생산의 일반적인 매커니즘이 적용되지 않고, 양방향성을 활용하여 이용자들이 자발적으로 참여하고 정보를 공유하며 콘텐츠를 만들어 나가는 특성이 있다. 소셜 미디어는 청소년층에서 소통과 정보, 접촉수단으로 자리 잡고 있고, 이에 따른 비행의 접촉율도 높다. 소셜 미디어는 청소년 범죄에 직 간접적으로 영향을 미치고 있으나 이에 대한 제도적 규제도 뚜렷이 없는 실정이다.