• Textile Coloration and Finishing
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• v.12 no.1
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• pp.1-11
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• 2000

This paper surveys the fabric weavability and machine efficiency in the various weaving looms such as Projectile, Rapiers, and Air-jet. Used projectile loom was Sulzer-PU, and FAST-R, THEMA-11E, and Picanol-GTX were used for Rapier looms, as the Air-Jet looms, Picanol PAT and OMNI types were used. Using these looms, 5 harness worsted satin fabrics were woven for surveying the fabric weavability and machine efficiency. Warp yam count of fabric is 1/40Nm, Sirofil, and filling is 1/30 Nm, worsted. End breaks of warp and filling directions for the various types of looms are measured and discussed with the mechanism of each loom. Warp and filling yam tensions are also measured and analysed with open width of shedding motion of each weaving machine. And various warp yam tensions with open width of shedding are measured and analysed according to the warp yam in various heald frame. These results fire also discussed with temples such as bar and ring. Warp yam tensions at the various positions on the fabric with various looms are measured and discussed with fabric mechanical properties such as tensile, bending, shear and surface.

• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• Journal of Korean Ophthalmic Optics Society
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• v.3 no.1
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• pp.39-73
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• 1998

In the 60's to 70's, frame selection was a purely mechanical consideration almost entirely dominated by the optician and his subjective judgments. Toddy the cosmetic factor is predominant. The variety of frame color, materials, and style means that the main burden of selection has passed to the customer, leaving the optician control a subtle factor often difficult to exert. Common materials include nickel silver, Hi-nickel alloy, bronze, stainless steel, gold, gold plated, gold clad, copper beryllium, titanium and sometimes aluminium. In manufacturing of metal frames with the materials, even though fashion is the stimulant of consumer demand, all the metal frame for the prescription to refractive correction should be designed correctly styled eyewear which is cosmetically pleasing, functional correct, physically comfortable, mechanically and structurally perfectible, and temperamentally acceptable.

• The Research Journal of the Costume Culture
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• v.10 no.1
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• pp.37-48
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• 2002

The following paper deals with the interaction between an Austrian art trend from the late 19th century until World War I, the Vienna Separatist Movement, and the Vienna Workshop dress and its ornaments in part designed by the artists belonging to the former mentioned school. Gustav Klimt′s paintings along with his photographs and pictures and articles published in the "Wiener Mode" magazine were subject of analysis. The focus was on Klimt′s paintings with female themes whereby a comparative analysis was made between the development of the forms, hues and ornaments of clothing and the style of paintings at that time. The whole development was classified into three phases. The first period from 1897∼1905 marks the birth of the Vienna Separatists along with the clothing reform movement. The heyday of the Separatists represents the second phase from 1906∼1913 and the decline of the very school and the Vienna Workshop period lasts from 1913∼1918. Refromed dresses were started to be recognized as alternatives, from 1897 when the Separatists started to gain foot until 1o05, and Kimt and Van de Velde published designs that were comfortable and elegant. From 1906 to 1913 the expressionism and Reform Mode of the Vienna artists started to flourish. But during the War the Separatist Movement, which triggered the modernazation of Vienna declined and instead the decorative art of Vienna Workshops started to develop. The asymmetric design of the dress, exotic patterns, shades of complementary colors and reformed clothing were frequently used by Kimt and other Separatists. This is an instance where fashion design directly influenced art and different branches can reflect the same aesthetic standards within the same time frame.

• Journal of architectural history
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• v.12 no.1 s.33
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• pp.25-41
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• 2003

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche-Jeanneret and Stein-de Monzie. It proceeds on the basis of the following three themes: first, the relation between the regulating line and the dom-ino frame; second, its status as a proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vortical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzie. The repetition of its A:B grid and the standard $2.5m{\times}1.0m$ sliding window determined the proportions of both its plan and elevation, and thus the regulating line became 'automatic,' losing its viability as a practical tool. Though the regulating titles of the La Roche-Jeanneret look as if they were an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly 'redundant' regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that Le Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His 'parti' ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• Proceedings of the Computational Structural Engineering Institute Conference
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• 1989.04a
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• pp.71-76
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• 1989

Structural design, generally engineering design, is a complex process combinding design knowledges and analysis techniques. While analysis techniques can be automated in an algorithmic fashion, relatively little work has been done in the area of the design automation. An effect approach method for the automation of the engineering design may be a hybrid system, in which design knowledges, specification requirements and interpretations are represented using an expert system methodology and numerically intensive operations of the design process are implemented using an algorithmic language such as FORTRAN. The purpose of this paper is concentrated on the knowledge of K-CLIPS(KAIST-C Language Integrated Production System) used to design and implement this hybrid system. In K-CLIPS, some representation methods : frame, production rule, fact and user defined function are used to construct the knowledge base. The hierarchical knowledges could be expressed more naturally with a little number of rules than other plain production systems.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.5 no.1
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• pp.123-140
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• 2011

In this paper, we propose an Energy Efficient Media Access Control (EE-MAC) protocol for wireless sensor networks. The proposed scheme is designed to save power consumption and guarantee quality-of-service for real-time traffic. EE-MAC uses the superframe structure which is bounded by the transmission of a beacon frame and can have an active and an inactive portion. The active period is divided into the contention free period (CFP) for real-time traffic transmission and the contention access period (CAP) for non-real-time traffic transmission. We propose the exclusively allocated backoff scheme which assigns a unique backoff time value to each real-time node based on bandwidth allocation and admission control. This scheme can avoid collision between real-time nodes by controlling distributed fashion and take effect a statistical time division multiple access. We also propose the algorithm to change the duty cycle adaptively according to channel utilization of media depending on network traffic load. This algorithm can prolong network lifetime by reducing the amount of energy wasted on idle listening.

• Journal of the Korean Society for Precision Engineering
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• v.11 no.5
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• pp.171-179
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• 1994

For successful implementation of robotic painting system, a structured design and analysis procedure is necessary. In designing robotic system, both functional and economical feasibility should be investigated. As the robotization is complicated task involving implemen- tation details (such as robot selection, accessory design, and spatial layout) together with operation details, the computer aided design and analysis method should be sought. However, conventional robotic design systems and off-line programming systems cannot accommodate these inquiries in a unified fashion. In this research, we develop an interactive design support system for robotization of a cycle painting line. With the developed system called SPRPL (Simulation Package for Robotic Painting Line) users can design the painting objects (via FRAME module), select robot model (ROBOT), design the part hanger (FEEDER), and arrange the workcell. After motion programming (MOTION), the design is evaluated in terms of: a) workpace analysis, b) coating thickness analysis, and c) cycle time (ANALYSIS).

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.