• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.3
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• pp.21-30
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• 2019

The purpose of this study is to investigate how Pritzker Architecture Prize as a social act has maintained an organic relationship with the architecture, the urban society through the speakings and writings of the laureates of the Pritzker Architecture Prize. The composition of this research is to grasp the background of the establishment of Pritzker Architecture Prize and the examination process, to examine its social meaning, and to identify the main flow of words from writings about the laureates through the literature survey and text frequency analysis. And is to interpret the meaning of urban society change and words about the laureates. As a result of the analysis of the flow, it is a tendency to move from ideology and style to newness and innovation, and now to publicity and sociality. Especially in recent years, a wide range of values are floated as much as the complicated issues of urban society and the natural environment. The various architectural activities that make up the urban life became more important than the building units existing like an icon. It is considered possible because the Pritzker Architecture Prize has been awarded for a sustainable common social act. In addition, through literature surveys, have also seen changes in the value of individual laureates, the mixing of styles, and the eclectic aspect. Therefore, the task of reading change should not be a process of finding a new style for a new age, but a task of acknowledging heterogeneity of each architect and recognizing diversity through pluralization.

• Proceedings of the Korea Information Processing Society Conference
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• 2007.11a
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• pp.149-152
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• 2007

본 논문에서는 대규모 네트워크 상에서 발생되는 시뮬레이션 결과를 효과적으로 보여주기 위한 Visualization Tool 을 제안한다. 복잡하고 다양한 시뮬레이션 결과를 얻기 위해, 생태계 모방형 플랫폼을 이용한 Bio-IDS (Intrusion Detection System) 시뮬레이터의 실험 데이터를 이용하였다. 대규모 네트워크를 모두 보이기에는 화면이 너무 작기 때문에, Visualization Tool 은 화면의 확대 및 축소를 위한 Zoom In/Out 기능, 화면의 Panning 을 위한 Scroll Bar 및 현재 영역의 위치를 알려주는 Mini Map 이 필요하였다. 또한, 사용자가 쉽게 시뮬레이션의 속도를 조절할 수 있도록 Simulation Speed Control 기능을 구현하였으며, 각 노드의 효과적인 정상 및 침입 상태 표시를 위한 Icon, 각 노드의 진화 정도와 침입 탐지 정확도를 알려주는 Evolution Number와 Accuracy Gauge, 해당 시뮬레이션의 결과를 도시하기 위한 Simulation Graph 도 추가하였다. 네트워크 Off-line 환경도 대비하여, DB 로부터의 데이터 입력뿐만 아니라 Log File 을 통한 데이터 입력도 가능하게 하였다. 끝으로, 전체 Node 들의 다양한 상태변화를 확인할 수 있는 Topology Window 와 Simulation Demo Window 간의 Synchronization 을 위한 Socket 통신 등 다양한 기능들이 통합된 Visualization Tool 을 개발함으로써, 대규모 네트워크 시뮬레이션의 효과적인 시뮬레이션이 가능하게 되었다. 이로 인해 대규모 네트워크 상의 복잡한 시뮬레이션 결과도 사용자가 매우 쉽게 파악할 수 있 매우 효과적으로 사용자가 파악할 수 있게 되었다.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.102-113
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• 2012

Hangeul is growing as cultural icon representing Korea. And Hangeul is scientific and is too systematics for words as the guide of modern design. First it can make the variable and beautiful foams like dot, line and plane. It also has the basic design principles like symmetry and repetition. The purpose of this study is to develop textile designs using the formative characteristics of Hangeul. So in this study it was chosen 'ㄱ, ㄹ, ㅁ, ㅂ, ㅅ, ㅇ, ㅍ' of Hangeul's consonants and 'ㅑ, ㅕ' of Hangeul's vowels as the subject materials of textile designs development to develop textile designs expressed the geometrical shapes and formative beauty of Hangeul. Those are designed by using a variety of motifs that recast the shapes of Hangeul. So six textile designs for necktie and scarf were developed. Through this study it will be offered to the possibility of products that was based on Hangeul.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.133-141
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• 2009

Since Adolf Loos' Ornament and Crime was released, ornament had been regarded as a vice in Modern architecture. In Post Modern architecture, the ornamental vocabularies extracted from the classical architecture have been symbolically expressed. As a result, the significance of existence of and the use value of architecture have increased with improved intimacy to the public. However, many studies that have analyzed architecture in terms of semantics and semiotics focusing on communication between architecture and the public have admitted instability in architectural meaning because of the fundamental difference between architecture and language. At the same time, the architectural representation has encountered a lot of limitations along with the deconstruction and non-presentation theory in Post-Structuralism. Even under these circumstances, the ornamental representation can be a critical factor which makes communication possible while expressing spatial identity in this pluralistic contemporary society. Hence, this paper has established logical grounds for research based on theoretical investigation on the concept of representation, semiotics, and ornamental representation, with regard to spatial communication through ornamental representation in commercial space. Based on Peirce's Semiotics which is the typical theoretical science in terms of representation, this paper has analyzed the three kinds of signs (Icon, Index and Symbol) that he proposed. Peirce's classification of signs becomes ideal when the factors are well balanced, with room for combination instead of strict classification. It appears that his theory of signs would be useful in understanding and analyzing ornamental representation. This study on representational ornament could offer a plan for ideal communication and abundant spatial experience in the interior design of commercial space in which the expression of creative space identity is required.

• Journal of Navigation and Port Research
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• v.37 no.4
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• pp.401-407
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• 2013

In parallel with the development of ship equipment, bridge systems have been improved, but marine accidents due to human error have not been reduced. Recently, research in nautical bridge equipment has focused on suitable ergonomic designs in order to reduce these errors due to human factors. In a bridge of a ship, there are numerous auditory signals that deliver important information clearly to the sailors. However, only a few studies have been conducted related to the human recognition of these auditory signals. There are three types of auditory signals: voice alarms, abstract sounds, and auditory icons. This study was conducted in order to design more appropriate auditory icons using a sensibility evaluation method. The auditory icons were rated to have five warning situations (engine failure, fire, steering failure, low power, and collision) using the Semantic Differential Method. It is expected that the results of this study will be used as basic data for auditory displays inside bridges and for integrated bridge alarm systems.

• Journal of the Korea Convergence Society
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• v.12 no.8
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• pp.23-30
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• 2021

Various customizing services are also being introduced in the fashion industry in line with the diversification of consumer tastes and the demand for small production of multiple varieties. However, barriers to entry are high for consumers who are not customized, and various functions are rather complicated. This study selected the three platforms that provide the most similar services to Marple, the No. 1 fashion platform sales, as comparative models and used them as a basic study for web-based fashion customization platform design through case analysis. As a research method, theoretical examinations were conducted through literature surveys, followed by web analysis based on layout, menu, color, icon, and interaction. The study found that the placement of options, the composition of menu windows, the number of point colors, and the use of icons without functions of metaphores hindered the use of customizing platforms. This work proposes a solution, and aims to contribute to increasing the usability of future customizing web by comprehensively analyzing the visual shaping elements of web platform design.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.123-134
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• 2020

With the recent development of 3D printers, there is a growing need to make them similar to real products. As a result, FDM full-color 3D printers have been developed and actively distributed, but GUI design has fallen short of that, causing confusion among users. Accordingly, this study conducted a literature survey, and through a case study, the current status of FDM full-color 3D printers was identified and the components of GUI design were analyzed based on prior research. The draft checklist was drawn up according to the components of the derived GUI design, and 24 items were deleted through the three Delphi surveys and the validity of the remaining 26 items was verified. As a result, the layout should consist of intuitive screen configuration and menus with high frequency of use, and the text should be intuitive and clearly communicated. In addition, the icon should be placed in a visible position and used in real life to image it. Finally, we could see that the color should be used to give feedback to the user using the highlight color and not overlap the output.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.109-118
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• 2013

Fashion icons of 21st century are not only the fashion leaders that show fashion trend but also the typical fashion signs or symbols that show visually changes in sensibility trends. The purpose of this study was to analyze the framework of 21st century fashion by the public to recognize through these changes. In this study, the background of the occurrence of various 21st century fashion icons and their characteristics were investigated and the changes of revealed features and symbolic meanings were examined compared with them of 20th century. The 24 celebrities which have been called as the bests of fashion icons since year 2000 were selected by searching the most popular search engines such as daum, yahoo and google, and 13 of them were picked as the highest in preference and awareness by surveying 50 students majoring in fashion. And then their fashion styles, backgrounds, and influence on the public fashion were studied. As a result, the 21st century fashion icons reflecting the cultural characteristics such as convergence and exaggeration and the sensitivities of fusion, collaboration, hybrid sensibility in art were powerful enough to create innovative styles destroying the era and the standard. Their styles have constantly created new looks. The exposed new individual sensitivities on media-fusion of two or more sensibility and coordination techniques without being tied to the existing anchorage system-were as influential as high fashion and leaded the imitation and reproduction by dazzling the public. As the media become more powerful, the influence of fashion icons interacted more closely with the public and has been evolved through the sensitivity of the reversal, cultural, economic, visual, or temporal fusions. To sum up, it is shown that the outstanding fashion styles suggested by the leading fashion designers have approach to the public more closely by the fashion icons.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.147-160
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• 2012

The costumes as an expression system in film are inserted intentionally for a particular purpose. Costumes in film, namely the cinematic dress code, and that in reality are dissimilar in meaning structure. The costumes in film perform a role of a complicated eye-catcher in correlation with the other filmic factors. But the previous studies on the costumes in film are focused on the keywords 'fashion style', 'fashion trend', or 'PPL (product placement)'. In film studies, however, the costumes should be observed from the point of view as semiosis, not as fashion, in other words, from the angle of symbol, icon and index. And the meaning and the process of the communication, which that produce, should be pointed out. It could expose, that costumes play one of the key roles for the developing of narratives and the creating of characters in film. Therefore, this study's aim is to examine the semiosis of costumes in film and to analyse the dress code, dress plot, and dress message in (1990) by Garry Marshall. But this work does not try to indicate the problems of the film-semiotics or to intensify the concept of the semiotic terminology. Thus, this study attempts to approach the theme of costumes in film from the perspective of the semiosis and its meaning process. With this, it has been proved, that semiotic systems are in hiding beyond the conventional forms of cinematic costumes and its natural harmony with characters.