• 한국실내디자인학회논문집
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• 제21권5호
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• pp.372-380
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• 2012

This study investigates the examples of memorials in which participants can communicate and interact. Memorials as an urban public space provide various information and experiences to the visitors. The purpose of this study is to investigate the types of participants' experience and the characteristics of memorial space. The 9 examples of the memorials are selected and analyzed by the experience type of participants. This study summarizes the characteristics of spatial representation of memorials as follow; first, the interactions and communications of participants are main considerations in designing memorials. This study defines three types of participants' experience in memorials as educational, emotional and daily urban experiences. Second, the memorial space providing educational experience has narrative characteristics which are explanatory, representational, hierarchical and figurative. Memorials represent historical events and individuals in figurative ways. Participants in memorials learn the event, mourn for the dead and cure the grief through walking the guided route. Third, the memorial space providing emotional experience is indeterminate and open-ended characteristics which are contemplative, symbolic, and abstractive. While participants try to find the way to walk through and understand the meaning of the abstract forms by themselves, they interface the event and the victims in private and individual ways. Fourth, the memorial space providing daily urban experience is the familiar urban facilities embedded remembrance such as memorial square, bridge and fountain. Symbolism of memorials and effectiveness of urban facilities are engaged into the memorial design. They have functional, participatory, interactive and recreational characteristics. People experience the memorials involuntarily and casually during their daily lives. The memorials with urban facilities can be related to the present and the future of the city as well as the past of the city.

• 한국콘텐츠학회논문지
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• 제9권6호
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• pp.104-116
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• 2009

디지털 환경은 타이포그래피를 새로운 국면으로 전개시켰다. 타이포그래피의 주요 요소로서 타입 또한 예외가 아니다. 하지만 기존 평면적 공간도 여전히 조형적 잠재성을 간직하고 있기 때문에 현재에도 시각디자이너들은 횡(橫)과 종(慫)의 탐사에 매진하고 있는 실정이다. 이러한 환경은 우리에게 깊이를 의미하는 Z축의 개념을 디자인적 감수성과는 무관한 낯선 수학적 개념으로만 인식하도록 하였다. Z축의 활용은 평면적 공간에서는 구현이 힘든 조형적 획득을 가능하게 한다. 깊이(Depth)라는 추가적 공간은 대상의 표현에 전방위적 확장을 가져다 주기 때문이다. 주목해야 할 점은 디지털 환경이 제공하는 Z축은 이미 오래전부터 존재해 오고 있으며 타입과도 불가분의 관계에 있다는 사실이다. 연구자는 이러한 특성을 고려하여 시각디자인 영역에서 전개되는 타입의 입체적 표현에 관한 연구를 하고자 한다.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• 한국실내디자인학회논문집
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• 제40호
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• pp.10-17
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• 2003

The purpose of this study is to the design tendency expression of contemporary architectural matter, I can find out how the architecture is represented using the surface of building in its autonomy. I study backgrounds of contemporary architectural matter, method and their natures. In this case, i can notice that 'framework-dressing' method formed a objectified tectonic system, while it supplied arts with room that they hold priority to architecture. So it makes me find that contemporary architectural matter resided in relationship complicated between things and events. Also, this study on analyzing spatial effect by the figurative language derived by researching the dadaisme, pop art, kinetic art, video art hit In conclusion, analyzing the recent experiments in the expressive qualities of exterior skin, in their use of materials, methods of construction and visual effects, it can be argued that the new skin is inclusive of times, and has autonomic, constant and tactile features. Base on their immaterial vocabularies - limits, material, mouvement, media - these could be characterized as vibrant plates.

• 말소리와 음성과학
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• 제1권2호
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• pp.63-73
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• 2009

The present study was conducted to explore how the processing of lexical ambiguity between homonymy and polysemy differs from each other, and whether the representation of mental lexicon was separated from each lexical ambiguity by a semantic priming paradigm. Homonymy (M1 means the literal meaning of '사과', i.e. apple and M2 means another literal meaning of '사과', i.e. apologize) was used in Experiment I, and polysemy (M2 means the literal meaning of '바람', i.e. wind and M2 means the figurative meaning of '바람', i.e. wanton) was used in Experiment 2. The results of both experiments showed that a significant semantic priming effect occurs regardless of the type of ambiguities (homonymy and polysemy) and the difference of their semantic processes. However, the semantic priming effect for polysemy was larger than that for homonymy. This result supports the hypothesis that the semantic process of homonymy is different from that of polysemy.

• 한국패션뷰티학회지
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• 제4권4호
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• pp.16-24
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• 2006

The purposes of this study are to identify the formative characteristics and the form of color expression by studying Henri Matisse's works. Also, this study is meaningful in that it took art make-up illustration as an original area by incorporating the artistic value of Henri Matisse's works on art make-up illustration. The research was carried out by analyzing the paintings of Matisse focusing on previous theses and related books. Four pieces were produced from the motive earned from the figurative features and color. The results of this study can be summarized as follows : 1) Since Henri Matisse's works used strong original colors such as R/V, G/V, B/V, and Y/V, it was possible to create powerful art make-up illustration through the contrast of complementary colors. 2) Creative and artistic illustration could be produced by developing and reorganizing designs with the utilization of his works.

• 한국실내디자인학회논문집
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• 제20호
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• pp.84-90
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• 1999

This study is on relations between minimalism, which is one of important theme in the contemporary design, and East-oriented speculatiov. Minimalism, one inclination of neo-modernism is characterized by Essentialism. That is connected with East-oriented thinking, especially Taoism. The paradigm of contradiction and paradox replaces the paradigm of rationality and the law of cause and effect. Minimal tendency is appeared at Modernism in 60's and Neo-modernism in 90's. The differences are originated with their manner on simplicity. Minimal tendency in Modernism is characterized by 'less is more' and that in Meo-modernism is by 'more with less'. The minimizing strategy is not considered as means as in modern age but as purpose in neo-modern age. This paper explains minimal architectural space as spatial problem and recognitions on that, not as the figurative problem. Conclusively the relationships between minimalism and eastern ideas are represented through the boundary and extensity of space, void and solid, de-formalization and Essentialism.

• Journal of Computing Science and Engineering
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• 제7권3호
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• pp.159-167
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• 2013

Creativity is a long cherished and widely studied aspect of human behavior that allows us to re-invent the familiar, and to imagine the new. Computational creativity (CC) is a newly burgeoning area of creativity research that brings together academics and practitioners from diverse disciplines, genres and modalities, to explore the potential of computers to be autonomously creative, or to collaborate as co-creators with people. We describe here an architecture for creative Web services that will act as a force magnifier for CC, both for academic research, and for the effective deployment of real CC applications in industry. For researchers, this service-oriented architecture supports the pooling of technologies in a robust interoperable framework, in which CC models are conceived, developed and migrated from lab settings to an industrial strength platform. Industry developers, for their part, will be able to exploit novel results of CC research in a robust, low-risk form, without having to re-implement algorithms from a quickly moving field. We illustrate the architecture with the first of a growing set of creative Web services that provide robust figurative language processing on demand.

• 한국디지털건축인테리어학회논문집
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• 제11권3호
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• pp.99-107
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• 2011

The prime purpose of this study is to view traditional residential space not only as visual and figurative but also experiencing space from the perspective of aesthetics. This study points out that traditional residential space should be perceived as "true space" of connecting people, life and experience. Although it was not clearly defined as a visual entity, the value, phenomenon and experience of space materialized through conjecture and expectation are interpreted as the arena of aesthetics and philosophy. This study aims at drawing a conclusion that the characteristics of traditional residential space, which is perceived as experiencing space centered on objective and subjective human behaviors, makes a linkage to aesthetic elements.