• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.74-81
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• 2004

The three basic elements of human life -clothing, food and shelter- had been evolved through different periods and cultural realms, as their spatial applications show distinct characteristics that are manifested through sensibilities only inherent to its specific culture. Especially in the interior spaces, possibilities to approach them in three-dimensional aspects allow formal characteristics to be expressed that are distinct to the country. Formal sensibilities embedded in interior space In Korea also follows such pattern, developed through various contemporary interpretations of Korean traditional formal sensibilities, including harmony with nature, simplicity, lightness, real and fake, and principle of harmony are being redefined by spatially expressed in contemporary language. That is, traditional formal sensibilitiesare filtered through various application methods such as composition, negotiation and modification, accommodating spatial manifestations to be not simply preserved nor replicated, but rather reconstructed through metaphor, symbol, abstraction and contrast. From this perspective, the Korean traditional formal sensibilitiesis not a notion fixed in the past, but a distinct perspectives evolving throughout periods of time that are constantly reconsidered and reinterpreted in our interior space. By examining Korean sensibilities manifested in interior space in the both diachronic aspects of tradition vs. contemporary, as well as synchronic aspects among various disciplines simultaneously, we would be able to generate a linkage to the dichotomous categories of tradition and contemporary.

• Archives of design research
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• v.16 no.1
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• pp.297-304
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• 2003

The purpose of this study is to explore and understand correlation between an appearance of the web-graphics and rhetorical analysis. This paper was adopted semiotic approaches and four rhetorical tropes as follows metaphor, metonymy, synecdoche, irony. The web-graphics are parts of the web-contents that are increased continuously in the web-space these days. To investigate cgaracteristic of individual web-graphic this study selected semiotic framework and analysis meaning of the rhetorical tropes. The results of this study can be founded as follows: · Rhetorical graphics we produced linguistic features between human and signs for the fundamental characteristic of the signification. · Rhetorical graphics offer to the users the due of the decoding precesses through the narrative structures to symbolic schema. besides, these are operated limited framework of condensation and displacement. · The web-graphics participate human's recognition processes and rhetorical codes in order to investigate the sign-vehicle of the deep-structures.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.290-295
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• 2006

지금까지 디지털 기기의 진화 과정을 볼 때 오직 기능적 발전만이 추구되고 그것을 사용하는 사용방식에 대한 진지한 고민은 부재하였다. 때문에 디지털 기기가 갖고 있는 버튼 위주의 획일적 사용방식은 사용자보다는 기기 중심의 디자인이 우선시되는 사회적 병리현상을 야기하고 있다. 반면 오랜 기간 인간이 다루어 온 전통적인 아날로그 도구들은 작업의 특성과 작업자의 상황에 맞도록 다양한 사용성을 고려하며 진화되어 왔다. 따라서 본 연구에서는 사용자들에게 익숙한 아날로그적 경험을 디지털 기기의 인터랙션 디자인에 적용시켜 보다 인간 중심적인 디지털 도구를 제안 하고자 한다. 연구의 목표는 다양한 기능이 복합된 대표적 디지털 기기인 휴대폰에 아날로그 경험을 접목시킴으로써 전통적인 도구들과 같이 디지털 기기의 자연스러운 인터랙션 스타일을 디자인하는 것이다. 이를 위하여 한정된 디바이스로 다양한 기능들을 조작해야 하는 모바일 기기에 적합한 아날로그 경험들에 대한 연구가 진행되었고, 기호와 조합으로 이루어진 카드놀이 메타포에서 그 단서를 발견할 수 있었다. 따라서 본 연구는 메타포로 제시한 카드놀이를 하며 일어나는 행위와 경험을 멀티미디어 휴대폰에 접목시켜 새로운 사용 방식을 제안하는 것이다. 예를 들어, 메뉴 선택의 경우 카드를 펼쳐 원하는 카드를 뽑으면 되는데 아래로 펼치면 그 카드의 수직 메뉴가, 옆으로 펼치면 그 카드의 수평 메뉴가 나타난다. 또 메뉴 안의 내용을 찾을 때는 카드를 뒤로 넘겨서 보게 되고 자신만의 개인적인 내용을 보고자 할 때는 카드를 은밀히 보는 듯한 행위를 취하면 된다. 즉 멀티미디어 폰 안의 내용뿐 아니라 사용하는 행위 자체도 하나의 즐거움이 되도록 카드놀이 경험을 새로운 인터랙션 스타일로 개발하여 그 가능성을 연구하였다.

• Archives of design research
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• v.14
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• pp.283-294
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• 1996

This study is one of the many tnals which would prove the need of linguistic approach to the process of making and evaluating design. Also, this study is a suggestion that a concept of metonymy should be applied to the field of desIgn. In ord"r to proceed above thesis, this study, begins with emploY1Og an linguistIc eye isual language, in the fIeld of design. Secondly, the method of exitence and the positive meaning of metonymy wIll be ecplained in the relation to the post-structural and post-modern thinking structure. ThIS IS because through the use of metonymy, people can express theIr concern about particularity and individuality whIch Modernist universality skept over. Finally, this sudy proves the validity of employing the concept of metomyny 10 the field of post-modern design by analizing actual examples.ples.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.52-67
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• 2017

This is the precedent study on the modern fashion design using Korean emotions, and its aim is to study the expressions in the modern fashion based on 'Jeong-Jung-Dong' idea from Korean dancing, which implicates the Korean emotion deeply among the artworks and give essence similar to the clothing. 'Jeong-Jung-Dong', a unique idea, in the Korean traditional dancing is the philosophy that involve the paradox expression, 'Movement in Silence,' which represented the emotion of Korean dancing for a long time. The main characteristics deducted in 'Jeong-Jung-Dong' were 1) the incomplete and complete by atypical, 2) the beauty of temperance by symbolism, and 3) amusing mutual relationship. Upon the analysis results of previous studies on the expressions in the modern fashion with 'Jeong-Jung-Dong', they demonstrated the atypical expressed by metaphor, symbolic expression through margin, and mutual relational table by harmony. The analysis of modern fashion expression by 'Jeong-Jung-Dong', which is a philosophical idea in the Korean dancing, could highlight the new way of looking at the clothing and systemize the theory on the Korean emotion to seek the effective expression of artistic features for the culture together with introduction of our unique emotion in the creative design process by understanding of humanitarian and philosophical ideologies to be utilized in the future Fashion Design.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.163-171
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• 2016

The objectives of this study is to analyze the characteristics of Chinese traditionality expression at restaurants in Beijing area. 12 restaurants were selected and visited for the investigation research. The results were as follows. First, traditional reproduction was found mainly manifested through the reproduction of traditional ornaments, in particular, the facade and interior element ornaments. Second, Traditional transformation was mainly manifested in replacement material while changing the shape slightly, or to stretch or shorten prototype shape and other negative deformation methods which did not largely out of the scope of traditional reproduction. Third, Traditional reinterpretation was expressed by abstract, symbol or metaphor on designs, usually people can not directly recognize the traditional archetype. When compare with traditional reproduction or traditional transformation, traditional reinterpretation was relatively fewer, however, in this study the traditional reinterpretation and traditional transformation have same numerical result. Reinterpretation as a positive performance method of traditional modernized, it was encouraging the phenomenon, especially in the ceiling design. Chinese traditional cloud patterns have been three-dimensional and diversification of use. And in the wall design, traditional elements have been extremely simplistic or adopted a wide variety of traditional elements, it may be preferred in diversity. In addition, furniture was tinge traditional elements in modern form, lighting was added symbolize color or picture on the traditional lighting which shape was simplified to emphasize space's traditional. But the facade, sign board, floor, and window element seems the range of variation was not wild, promote more use the positive traditional reinterpretation method.

• Journal of the Ergonomics Society of Korea
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• v.33 no.6
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• pp.499-513
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• 2014

Objective: The objective of this study was to examine frame ratio of text information and font size in the circle smartwatch. Background: Recently, electronic manufacturers try to develop the original metaphor of traditional wrist watch (circle) in terms of smartwatch. They endeavor to break the square display in order to improve emotional customer satisfaction. Method: The experiments examined twenty level of text information design, combinations of four frame ratios (1:1, 4:3, 16:9, 21:9) and five font sizes (6pt, 7pt, 8pt, 9pt, 10pt). Nineteen participants volunteered for the experiment. Dependent variables were WPM (Words per Minute), reading preference, design preference and total preference. Furthermore, small circle display was made by using circle display data (1.3inch), which was exhibited in IFA (International Funkausstellung) 2014. Results: As a result, ANOVA (Analysis of Variance) revealed that WPM, and task time preference affect the specific frame ratio and font size. Results of ANOVA for reading preference, design preference, total preference were grouped by post-analysis LSD (Least Significant Difference). Among users, display ratio (16:9, 21:9), and font size (9pt) were preferred. In conclusion, 16:9 display ratio and 9pt are adaptable for text information in 1.3inch circle display. Conclusion: From the study, it is shown that 16:9 display ratio and 9pt size are more adaptable for text information in 1.3inch circle display than others. It is mainly due to the fact that the order of frame ratio and font size may affect the usability of reading long text information in a small circle display. Therefore, when developers design a circle display, the square frame ratio and font size are required to be considered according to circle size. Application: The 16:9 display ratio and 9pt font size may be utilized as a text information frame in the circle display design guideline for smartwatch.

• Archives of design research
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• v.15 no.3
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• pp.213-222
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• 2002

Graphic User Interface has been playing a great role in giving people easy access of computer. The research of implementing graphic image on the computer display and inventing mouse were the threshold of GUI's birth in 1960s, and those were succeeded to developing the first GUI based-computer at the Xerox research center in 1970s. An education theory for the children and the visual metaphor of real life environment were adapted to implement GUI. They were continuously studied and tested in the beginning of creating the GUI concept and design method. In 1980s, the GUI concept and design method were generally applied to all personal computer development. Apple and Microsoft have led the commercialization of their GUI based-05, and also got their own positions in the market as GUI standards in 1990s. The first research for the GUI based-computer implementation in Xerox has established very clear concept and design methods. This GUI standards are evolving Into more convenient and natural ways in various computing environment and developing technologies these days.

• Science of Emotion and Sensibility
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• v.18 no.3
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• pp.71-80
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• 2015

Minimalism means abstinence characterized by simplicity, clarity, repetition, and exclusion while skeuomorphism means visual metaphor design characterized by retro, function, and emotion. Mobile platform interface has been developed based on those two aesthetic characteristics and user experience is evaluated using apple iOS6 and iOS7 representing skeuomorphism and minimalism respectively in this paper. Those two aesthetic designs on typography, color, and icon were tested with a sample of 35 undergraduate participants in the repeated measures design and the results showed that participants distinguished two types of aesthetic designs, and evaluated that iOS7 is superior to iOS6 on typography and identity. Comparing the levels of the three variables, aesthetic of typography, and accuracy, aesthetic and consistency of icon design were significantly differentiated and this means that although accuracy of icon design of iOS6 is superior to iOS7, iOS7 is superior in the rest of it. Overall, the participants had a positive evaluation toward iOS7.

• Journal of Fashion Business
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• v.1 no.2
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• pp.1-19
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• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.