• Journal of The Korean Association For Science Education
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• v.27 no.2
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• pp.134-143
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• 2007

This study explores visitor learning in a natural history museum from the perspectives of situated learning. The purpose of this study is to understand how the visitors construct knowledge from museum experiences through dyadic discourses. The participants were two university students. They moved naturally through the exhibition with no predetermined path in a natural history museum in Korea. Data were collected in the form of audio-recorded dyadic discourses at and between exhibits and were transcribed. The transcription was coded using the conversation coding scheme, and categorized into specific learning types. The findings included (1) the characteristics of learning talks and (2) learning types created by dyadic discourses at and between exhibitions within learning contexts as museum learning experiences. Implications and future research related to visitor learning in informal learning settings were discussed based on the findings.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.107-120
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• 1998

Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.11-18
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• 2012

This study is to establish the dwelling principle and architectural characteristics of Powhatan Indian Community in Eastern part of North America. To find a pattern and dwelling principle of town building and housing, I have researched both site survey of Powhatan at Jamestown Settlement in Virginia and a related references of North America Indian. In addition of study, I have tried to understand their life style in 17C, a spatial characteristics of space composition, and a using materials of Yehakin which means Powhatan's house in the exhibition hall of Jamestown Settlement. The results of this paper are as follows: First, the form of Powhatan house is like a longhouse which has two types that are oblong and rectangular house. Usually they had lived in the style of oblong house. Second, there are three patterns to set up the semi-permanent settlement of Powhatan, which are circle-type, street-type, and free-type of village. Third, the fire place of interior space that is most importance element to heat and cook is put it into the center of room, and the other beds and shelves are arranged by the side of wall which is covered of rush matt.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.1-16
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• 2016

The purpose of this study was to examine the characteristics of conspicuous kids fashion and its intrinsic meaning as the popular trends of luxury product consumption expand into the area of kids' fashion. For methodologies, literature study was conducted along with empirical study. The literature study was based on various literatures and preceding studies, including books. The empirical materials used the internet photos, overseas kids fashion magazines, and free newspapers available on the basis of membership targeting the upper class. Conspicuous kids fashion refers to imported luxury kids brands, which signify higher status of the wearer due to the high prices and high quality. These brands were thrust into limelight amid the Wanna-Be Phenomenon, which resulted from the emergence of kids' fashion icons. Imported luxury brands launched the products in the form of brand line extensions. It promoted exhibition of vicarious consumption to show off the wealth and social prestige of parents. It came into prominence due to emotional consumption among kitty moms. Moreover, this study examined the intrinsic meaning of conspicuous kids fashion. The results showed components of conspicuous kids fashion, which was classified into the emphasis on outward appearance, consumption for vicarious satisfaction, inheritance of cultural capital, and network configuration.

• Journal of Fashion Business
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• v.24 no.3
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• pp.114-120
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• 2020

This paper is a study of culture and identity expressed in textile art works of the age of globalization, centering on the Beijing International Fiber Art Biennale. This study began with the idea that globalism would develop regional cultural diversity as well as contribute to the field of art. In 2000, the Beijing International Fiber Art Biennale held its first large exhibition, and a total of 10 biennales were held from then until 2018. Get an understanding of the Beijing International fiber art Biennale, and select award-winning works from one to ten times to learn about cultural characteristics and identity. The analysis was based on the works of awards from China and Japan, including Korea, which are the center of East Asian culture. The Beijing International Fiber Art Biennale has steadily increased the number of participating countries, writers and works, and once again opened the stage for the revival of textile art following the Lausanne International Tapestry Biennale. Through the Beijing International Fiber Art Biennale, textile artists hope to promote world harmony in textile art, respect cultural diversity and conduct equal dialogue between East and West cultures.

• Journal of the Korea Society of Computer and Information
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• v.24 no.3
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• pp.49-56
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• 2019

The purpose of this study is to analyze the characteristics and meanings of Instagram hashtags related to the exhibitions as a online communication platform of museums. At the same time, it focuses on efficiency of hashtags as a reference framework of inferring viewing experiences. We collect and visualize Instagram hashtags of exhibitions held in Korea for the past two years including 'Paper Present (2017)', 'YOUTH (2017)', 'Monet, Draw Light Exhibition (2018)', 'Van Gogh Inside (2016)', 'Drawn by the Wind: Shin yun-bok & Jeong Seon'. To sum up, significant data related to viewing experiences are not derived, and hashtags as a reference framework of inferring viewing experiences are turned out to be inefficient. Meanwhile, we conclude that potential for distributing information about the exhibitions is inherent in hashtags. In terms of informational characteristics, we notice that the influence of hashtags related to regional information is presented more than the response toward the viewing experiences. This result shows that Instagram users in the exhibitions are worthy of place making rather than viewing experiences.

• Journal of architectural history
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• v.12 no.3
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• pp.101-116
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• 2003

The word 'Neo-Modern' means the revival of modernism, specially the concept of the White Geometry of Le corbusier and Mies van de Rohe, and the Neo-Modern movement in architecture indicates the leading aspects appeared in 1990's. Modern architecture was a formalistic art movement. With its historical roots, in Europe extending back to the avant- garde modern architecture in 1920's, Neo-Modern appeared with the name of New York Five, in 1970's. In Japan, there has been an outstanding movements presenting Modernism architectural charateristics, since 1980's. The characteristics of these works can be discerned from the those of Regionalism of Historicalism in 1980's. This study is to investigate and analyze the characteristics of the works of Japanese Neo-Modern architects and to contribute to defining the word, 'Neo-Modernism'. In chapter one, the background, purpose and methode of study are presented. In chapter two, the concept and historical background of 'Neo-Modernism' are studied. In chapter three, the characteristics of Neo-Modernism are studied on the basis of the main concepts and formal characteristics of modernism and New york Five. In chapter four, the tradition of Modernism inside the history of Japanese architecture were studied, specially focused on Metabolism. In chapter five, The characteristics of Neo-modern expressions used in the 18 exhibition and cultural facilities in Japan, established after 1980, are analyzed in terms of 4 expression categories. In chapter six, a synthetic conclusion is presented.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Journal of the Korean Home Economics Association
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• v.43 no.6 s.208
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• pp.97-112
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• 2005

The purpose of this study was to examine how female college students' physical characteristics affect their and hairstyle behavior. The study methodology was a survey, with questions gathered from the previous research surveys and collated by the author. The study subjects 350 female college students in Gwangju, Korea. This survey was performed from November 8thto 13th 2004, and 348 questionnaires were finally used for the study analysis.. The research results are summarized as follows: 1. As a result of the analysis on the research variants, costume behavior was derived from four factors clothing sympathy, clothing exhibition, clothing convenience, clothing aesthetics. Hairstyle behavior was derived from five factors: hair sympathy, hair individuality, hair aesthetics, dependency on hair designer, and hair convenience. 2. The difference between clothing and hairstyle behavior according to physical characteristics showed that clothing and hairstyle behavior make a significant difference according to the height, weight, study major, spending money, and family income. 3. There was a positive correlation among clothing and hairstyle behavior clothing Female college students showed the same differences in clothing behavior as in hairstyle behavior according to their own physical characteristics. When more satisfied with their body shape, they tended to pursue a clothing aesthetic. When more dissatisfied with their body shape, they tended to pursue a comfortable and acceptable look, which does not attract others' attention, rather than pee the changes of hairstyle and fashion.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.