• 복식
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• 제52권1호
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• pp.103-115
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• 2002

The purpose of this study is understanding modern woman's various aesthetic values and aesthetic sense through observing expression aspects of gender images in the 1990s military fashion and analyzing their aesthetic characteristics and formative factors. Gender images in military fashion have expressed the masculine image of authoritative image and offensive image and offensive image, and the feminine image of conservative image and ostentatious image, sensual image. The authoritative image showed authority and dignity of military uniform by using the classic military uniform's image. This spoke for desire of women to rise their position. Heroism and androcentrism affected as its formation factor. The offensive image destroyed original dignified image of military uniform by that resistance to authoritative image and existing gender identity appeared as way-out form and deconstructive expression. Anti-establishment spirit, resistance to gender identity, and deconstructionism affected as its formation factor. The conservative image expressed military fashion only with slim and soft silhouette, curved line, color, and simple details by magnifying feminity. Fallen man's authority affected as its formation factor. The ostentatious image expressed military fashion with magnifying accessories such as gold button and belt by women who wanted to display ostentatiously their social position and charm. The aspiration for class of elite affected as its formation factor. The sensual image intended to show erotic voluptuous beauty of woman's body by indirect and direct body exposure. Narcissism, desire to show, and sexual amusement affected as its formation factor.

• 한국의상디자인학회지
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• 제21권4호
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• pp.97-113
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• 2019

Among the many factors affecting fashion trends, the concept of war has been particularly instrumental throughout human history. Specifically, military uniforms worn during the WWI and WWII became popular fashion styles that introduced military uniforms to modern fashion and continue to be influential to this day. And the fashion accessories market is continuously demanding new styles. The purpose of this study is to investigate the reasons why military uniforms have been continued to be influential in contemporary fashion, to apply fashionable features of military uniforms, and to make leather accessories by using leather-carving techniques. The characteristics of military uniforms were analyzed in advance research, domestic and international literature, and cases applied in modrern fashion collection. In conclusion, five modern fashion accessories were developed by combining the form, function, and decorative elements of the military uniform that have been constantly reflected in modern fashion with leather handcraft carving techniques. This study is meant to suggest the possibility of developing artistic and original fashion accessories that are both practical and reflect the history of military uniforms.

• 한국의상디자인학회지
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• 제21권2호
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• 한국도서관정보학회지
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• 제48권2호
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• pp.73-97
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• 2017

학교도서관은 공간임과 동시에 장소이다. 가정과 집의 개념이 다르듯이 공간은 물리적 형태를 말하고, 장소는 각 개개인의 경험에 의한 주관적 개념이다. 초 중 고 학생은 사회적, 인지적 발달단계가 다르기 때문에 학교도서관에 대한 느낌 즉, 장소성이 다를 수 있다. 이에 본 연구는 초 중 고 학생 간에 장소성 형성요인에 대한 차이를 규명하고, 이 장소성이 장소애착과 장소가치인식을 매개로 하여 학교도서관을 이용하고자 하는 행동의도로 이어지는지 그 과정을 검증하였다. 590명의 초 중 고 학생들로부터 수집한 설문 데이터는 SPSS 19와 AMOS 19를 사용하여 분석하였다. 연구 결과, 물리적 요소, 활동 행태적 요소, 심리적 요소 모두 초 중 고 학생의 학교도서관에 대한 장소성 형성에 영향을 미치고 있음을 확인하였다. 초등학생은 중학생과 고등학생에 비해 물리적 요소, 활동 행태적 요소에 의한 영향을 크게 받고 있으며, 이는 통계적으로 유의미한 차이를 보였다. 또한 장소성은 장소애착, 장소가치인식을 매개로 하여 학교도서관을 이용하려는 행동의도로 연결되고 있음을 확인하였다.

• 한국지역지리학회지
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• 제9권2호
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• pp.169-179
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• 2003

답압으로 인하여 등산로에 발생하는 난투수층의 특성과 형성요인을 규명하기 위하여 한라산 석굴암코스와 다랑 쉬오름 등산로에서 토양의 압밀 상태와 물리특성을 조사하였다. 토양경도를 비롯하여 건조밀도와 고상 비율은 대체로 등산로 중앙에서 가장 높고, 가장자리로 가면서 점진적으로 감소하여 자연사면에서 최저치를 보인다. 즉 모든 등산로에서 토양의 압밀화가 진행됨으로써 등산로 중앙부에 난투수층이 출현하고 있다. 난 투수층의 형성에는 등산객의 답압뿐아니라 지형, 지질, 토양, 식생과 같은 환경요인이 관여하고 있다. 지형조건으로서 등산로의 배와 출현위치는 답압의 강도에 차이를 일으킬 뿐 아니라 우세작용에 의한 표토의 유실과 지표류에 의한 토사의 운반 퇴적을 통하여 난투수층의 형성에 관여한다. 또한 토성을 지배하는 지질 및 토양조건은 토양의 물리특성을 통하여 등산로의 압밀화에 영향을 미친다. 반면에 식생은 난투수층의 형성에 직접 관여하기보다는 등산로의 확대속도에 작용함으로써 난투수층의 규모에 차이를 가져온다.

• 정보교육학회논문지
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• 제9권2호
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• pp.221-228
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• 2005

다양한 영상매체의 홍수 속에서 주체적인 사고와 올바른 가치 판단력을 기르기 위한 미술 감상 교육의 중요성이 어느 때 보다 강조되고 있고, 미술과 제7차 교육과정에서도 감상 영역과 연계하여 미적 체험, 표현 영역을 지도하도록 강조하고 있으나, 교육현장에서는 여전히 표현과 기능 위주의 미술 교육만이 실시되고 있다. 표현 활동을 마친 후 실시하고 있는 감상활동도 시간의 부족, 작품 분석에 대한 어려움, 감상지도의 어려움으로 단순히 직관에 의한 느낌을 간단히 서술하는데 그치고 있다. 따라서, 본 논문에서는 미술 작품의 조형요소를 분석하고, 응용 프로그램을 이용해 조형요소별로 작품을 수정해 보고 이를 비교 분석하여 분석감상능력을 신장시킬 수 있는 웹 기반 미술감상 시스템을 개발하였다. 이를 교육현장에 적용하여 작품에서 보여지는 가시적인 조형요소인 선 형 명암 색채 질감 공간 구도를 분석함으로써 학생들의 조형감각과 분석감상능력이 신장됨을 확인할 수 있었다.

• 디자인학연구
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• 제14권1호
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• pp.119-134
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• 2001

이탈리아의 디자인은 자유분방하고 유미주의(唯美主義)와 예술지향적 성향이 강하다고 할 수 있으며 지리조건, 민족성, 문화에 바탕을 둔 그들만의 특징을 양식화 시켰다. 2차 세계대전 이후 이탈리아 건축가들은 전후의 국가재건과 국제시장에서 경쟁력 있는 제품을 창출하려는 노력을 아끼지 않았다. 이탈리아의 가구디자인은 타고난 자원부족을 극복하고자 새로운 소재에 특유의 창조력을 바탕으로 심미적 요소를 가미하였으며 기업이 능력 있는 디자이너를 발굴하고 적극적으로 디자인을 개발하는 등, 가구산업에 특별한 노력을 기울인 결과 오늘날 유수의 가구산업국가로 발돋움할 수 있었다. 이는 모든 분야에서 문제를 인식하고 체계적인 지원을 아끼지 않은 결과라고 볼 수 있다. 본 연구는 이탈리아 가구디자인 발전에 영향을 미친 요인을 분석하고 이러한 요소들이 각 시대별로 이탈리아의 시대적 배경과 결합하면서 어떠한 특성으로 나타났는지 분석하고자 한다. 또한 이탈리아 디자인의 발전과정과 전략을 분석함으로써 우리 나라가 지니고 있는 지리조건, 민족성, 문화 등과 산업여건을 가구디자인 발전에 접목시킬 수 있는 체계적인 관점을 제시하고자 한다.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.39-46
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• 2006

There lies more subjectivity in the methods and process of showing the Koreaness, and design methods cannot be defined with only one answer key, which is probable to cause much difficulty. Until now, the traditional Korean features have been tried by quite a few designers whose approaches deserves for the reference to understand the trends of expressing the Koreaness and develop the ways of its expression. Therefore, this study first considers the trial processes of design methods in reconsidering the Koreaness done by many artists in terms of previous studies and researches. Then this tries to make a frame to analyze the Koreaness theoretically after studying the approaches knowledge about traditional architecture designs widely used as design concepts, and to examine specific cases which reflects them in their interior architecture. All of these studies are aimed at get the understandings on trends and methods demonstrating the Koreaness in modern interior design. This study ranges from the artists, who have made efforts to express Koreaness in 1990s and after, to their artworks. As study methods, pre-study and reference researches had been done to examine the knowledge factors on the ground of the theory of D.G Jansson, to give a theory to the understanding of its methods and tendencies, and to build the frame for case analysis. As a result, in traditional architecture, spacial design gets the prominent priority and other factors are not far from different. In formative approachesthe expression inclination on material factor is outstanding. Consequently, these two approaches have analytic elements in difference but spacial design and materiality have prominently in common to express the Koreaness.

• 대한건축학회논문집:계획계
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• 제34권11호
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• pp.33-44
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• 2018

During the course of play, children gain special experience in a place where they can explore their surrounding environment and feel emotional stability. This experience of attachment to the place of play is very important in that play can serve as a measurement of the child's growth and development. Therefore, the environment surrounding the child should be understood as a meaningful place that affects a child's life beyond the place of play. The purpose of this study is to propose a spatial planning method where the formation of place attachment is considered in the design of child care facilities, as this is where preschool children spend much of their early formative years. The research methods are as follow: First, we surveyed the relationship between child development and place attachment through literature reviews and found that the factors that form place attachment were summarized as accessibility, complexity, segmentation and nature friendliness. Second, we examined the spatial characteristics of Mitsuru Senda, a Japanese architect who has been intensively studying children's play environments, as well as the characteristics of children's play proposed by his academic research. Finally, we analyzed the relationship between the spatial characteristics supporting play shown in Senda's work, and the four factors of place attachment formation and proposed a planning method for space design applicable to child care facilities.

• 한국농촌건축학회논문집
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• 제25권4호
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• pp.25-35
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• 2023

According to this study, it is estimated that the ILDU historic house was constructed around the late Goryeo period, approximately in the year 1360, and the founder moved to Hamyang no earlier than 1350. The main house, the inner store-house, the inner gatehouse, and the ancestral shrine, which are situated on elevated ground, were initially constructed around 1360, and substantial expansions and renovations occurred around 1620. The shrine was relocated and reconstructed in its present location and form around 1843. Subsequent to that period, it underwent various architectural changes, including repairs and reconstructions. The sub-main house was originally constructed around 1620 and underwent a reconstruction in 1843. The main storehouse was built in 1930. Also, the man's part of house, located on lower ground, was erected in 1843, while the other sub-main house seems to constructed around 1860. The auxiliary buildings, the main gatehouse and the outer storehouse, were initially constructed around 1360. It is estimated that they were similarly relocated and reconstructed in their current form, along with the construction of the man's part of house in 1843. It has undergone a four-stage transformation process, influenced by various internal and external factors, including the local indigenization of the ILDU families of the same clan, as well as the popularization of Confucian ideology. These four stages include its formative period, growth phase, developmental stage, and maturity. It actively incorporated the contemporary factors of change into its residential architecture. This continuous adaptation is evident in its the space and floor plan, ultimately leading to its present-day architectural legacy.