• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.9
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• pp.5789-5794
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• 2015

Recently, thin and light-weight production technologies are needed in IT industry in accordance with increase of the smart phones and mobile PC products. In order to make light and high rigidity products, engineering plastic and aluminum materials are frequently used in products appearance and frame hat support structure. Especially aluminum extrusion and CNC Brick processes are widely used for high strength and high rigidity technology. But extrusion method has constraints to apply exterior design and CNC Brick process has relatively high production cost and low speed of manufacturing. In this research, a new process method is introduced in order to reduce material cost and to improve manufacturing speed dramatically. Plate forging process means basically that thickening of local wall area thickness after deform exterior shape by deep drawing and bending process. Therefore, it is possible to minimize the waste of material and the manufacturing time. In this study the process of plate forging is designed using finite element program AFDEX-2D and the thickness and the width of initial deformed blank. And it is verified as a sample which is a part of laptop developed through the proposed plate forging method.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.59-71
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• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.99-112
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• 2011

The purpose of this research is to study India's traditional embroidery method, Mirror Work, and to evaluate the examples of contemporary costumes as well as the applications of art to clothing that have been influenced by this technique, in order to expand its usage for creation of a new fashion image. Research in the literature and application of works related to Mirror Work have demonstrated: First of all, as a traditional embroidery method that represents the folk art of India, Mirror Work displays unique methods used in different regions and the way that various methods and materials were combined by the use of mirrors, beads, and $appliqu{\acute{e}}$. Secondly, it was found that the presentation of Mirror Work in the $pr{\hat{e}}t$-a-porte collection is based on a traditional embroidery method using both developed materials and adapted methods to express traditional reproducibility, geometric simplicity, and aesthetic characteristics of complex decorations. Thirdly, new plasticity for art to wear clothing can be created through various methods aside from embroidery, for example by a technique of wrapping crochet laces and tapes around the mirror for decorative purposes. Based on these results it can be inferred that, from the perspective of multiple forms for decorations, Mirror Work shares multiple forms of personal aesthetic goals through the mirror's unique quality for expression and enhanced images of artistic decorative art. Also, the introduction of traditional materials and methods for today's folk art and traditional costumes can be the subject of unique aesthetic characteristics based on different perspectives of the recreation of tradition. Finally, it can further create a new plasticity within the globalization phenomena.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• New & Renewable Energy
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• v.8 no.1
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• pp.44-51
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• 2012

Due to a high tidal range of up to 10 m on the west coast of Korea, numerous tidal current projects are being planned and constructed. The turbine, which initially converts the tidal energy, is an important component because it affects the efficiency of the entire system. Its performance is determined by design variables such as the number of blades, the shape of foils, and the size of a hub. To design a turbine that can extract the maximum power on the site, the depth and duration of current velocity with respect to direction should be considered. Verifying the performance of a designed turbine is important, and requires a circulating water channel (CWC) facility. A physical model for the performance test of the turbine should be carefully designed and compared to results from computational fluid dynamics (CFD) analysis. In this study, a horizontal axis tidal current turbine is designed based on the blade element theory. The proposed turbine's performance is evaluated using both CFD and a CWC experiment. The sealing system, power train, measuring devices, and generator are arranged in a nacelle, and the complete TCP system is demonstrated in a laboratory scale.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.1
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• pp.41-50
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• 2001

The seoul Metropolitan Government has announced a program of the realization of a Korean garden named 'Seoul Park' in Paris 'Jardin d'Acclimatation' in June, 2000. The program for 'Seoul Park' in Paris has double objectives which aims celebrating the 10th anniversary of the establishment of sisterhood relationship between Seoul and paris and to promote the mutual cooperation and the amity between the two metropolitan cities. The purpose of this study is focusing on the issues on the setting procedure of characteristics of the 'Seoul Park', type of the Park, and design realization of expression of Korean identity, and the cultural consolidation between parks in Korean and French. The Seoul Park will be constructed on the shore of a lake of the Jardin d'Acclimatation, and the size of the area is 4,675㎡. In July, a design competition for the preparation of a schematic plan of the Seoul Park was held in Seoul. In this competition, the author won with a scheme which proposed a Korean Garden as expression of "between" two cultures which is fitted into the French environment. Although, the Seoul Park in Paris is a small Korean garden, its significance would be emphasized in terms of that it represents the adaptation of a Korean culture to the French territory. Throughout the winning entry, we could recognized hat the author defines Korean garden as 'time device', and 'Seoul Park' as 'Situation' which is the consolidation of the cultures between korea and France. And also the author pursued Korean garden as a net type of 'sequence of the event'. In this paper, we have discussed the concept and the schematic plan of the winning entry. focusing on following issues: Definition of the garden; Form of the garden; Expression of Korean garden; Representation of the reconciliation between two environments. Since many parts of the garden are under designing, and the discussion on the resetting of the existing trees in the garden is in progress, more specific investigation will be done in the next thesis.

• Proceedings of the KAIS Fall Conference
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• 2003.11a
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• pp.35-41
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• 2003

A multi-agent technology has emerged as a new paradigm that can flexibly and promptly cope with various environmental changes and complex problems. Accordingly, many researches are being made to establish multi-agent systems in an effort to solve dynamic problems in many fields. However, most previous researches on the multi-agent frameworks aimed at, on behalf of a user, exchanging and sharing information between agents, reusing agents, and suggesting job cooperation in order to integrate and assimilate heterogeneous agents. That is to say, their frameworks mainly focused on the basic functions of general multi-agent. Therefore, they are not suitable to the development of the proper system for a specific field such ,.s a negotiation. In an effort to solve this problem, this research has tried to design a multi-agent framework-base negotiation system, so that for the sake of a user it can evaluate the negotiation messages, manage the negotiation messages, and quickly and exactly exchange messages between negotiation agents. First of all, we have made research on the basic functions hat are necessary in the development of a negotiation system, and then have analyzed the limitations of existing multi-agent frameworks when trying to apply them to a negotiation system. After these efforts, this study suggests a design of multi-agent framework to develop a negotiation system.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.138-145
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• 2001

This study aims to compare the beauty of costume in the Gothic with that of Renaissance periods. By analyzing the beauty of costume which reflects the ideal of the age, this study attempts to provide the insight which can predict the beauty of future costume The characteristics of Gothic costume is the from of the loose enveloping of the body, which can be accounted for from the influence the Christian religion, and the emphasis on the vertical line influenced by the steeple in the Gothic architecture expressing the enthusiasm of the religion. The emphasis on height in the Gothic cathedrals was reflected in the hennin, pointed shoes, and lengthy sleeves of Gothic dress. The beauty of Gothic costume lies in the from of slender, the emphases on the vertical line, the we of heraldry and parti-color, and pointed hat and shoe. The Renaissance architecture shows a broad horizontal appearance. There is the similarity between the Renaissance costume and Renaissance architecture. The beauty of Renaissance costume lies in the form of the exposing body, the exaggerated silhouette, the emphasis on the horizontal line, the use of ruff and slash in order to display the beauty of human body and the beauty of cubic. The ideal beauty of Gothic and Renaissance costume was influenced by the spirit the age and was in contrast.