• 디자인학연구
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• 제15권2호
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• pp.187-196
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• 2002

한국의 현대 벽화는 한국의 시각적 수위를 드러내는 하나의 지표이다. 본 논문의 첫째 장에서는 한국의 현대 벽화제작 시스템을 분석한 후, 둘째 장에서는 조선시대의 풍속화나 시각상징물을 재현한 벽화를 라캉의 정신분석학적 개념을 빌어 설명했다. 라캉의 연구 중 주종을 이루는 상상계와 상징계의 개념으로 한국적인 소재 재현의 심리적, 정신적 배경을 분석하는 방법을 취했다. 한국의 벽화가 보여주는 시각 현실은 과거조선 시대 공동체와의 상상적 동일시를 피하는 것이라는 논지로 전개되었으며, 이는 서구 중심의 상징계에서 생활하는 주체의 분열상, 허구적 의식을 암시하는 동시에 주체의 시지각에 혼란을 초래하는 요인이 되어 또 다시 상상계적 재현을 되풀이하는 것으로 결론지었다. 결론에서는 이러한 시각 혼란 현상을 극복하고 실재 생활을 표현하는 시각 양식의 개발을 위해서 한국인의 아비투스를 연구해서 그에 맞는 대안이 마련되어야 한다는 후속 연구의 방향을 제시하였다.

• 복식
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• 제52권7호
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• 한국의류학회지
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• 제40권4호
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.

• 복식문화연구
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• 제26권2호
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• pp.233-250
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• 2018

This study examined images typical to this city and explored ways to develop cultural products using these images. Researchers reviewed literature about fashion cultural products and related previous research, and then conducted a closed-ended survey to analyze universal fashion preferences. For the examination material, such a way was used as information data base and network review inside and outside the country, dissertation screen, and published media including separate volumes. The following are considering points in the developing process. First, the study identified design, color, price, practicality and quality as factors that should be taken into consideration when using the image of Gangneung. In particular, it determined that the image needs to reflect a modern sensibility while maximizing its representation of local culture. Second, Gangneung's symbolic image should incorporate the sea, Gyeongpo, and coffee. In other words, the sea, Gyeongpo, and coffee should receive top symbolic priority. Third, from a development perspective, the most appropriate items for displaying the image include t-shirts, keychains, umbrellas, or other accessories, since these items are easily available in terms of price. In sum, this study highlighted the necessity of reconsidering Gangneung's currents ymbolic image, suggesting that a new image should be developed. Developing a typical fashion cultural product image will enrich Gangneung's cultural industry and the distribution of newly designed products will improve the localeconomy.

• 응용통계연구
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• 제33권1호
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• pp.61-74
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• 2020

심볼릭 자료 중 하나인 구간형 자료는 모든 관측값에서 단일 값이 아닌 구간을 값으로 취하며, 관측값 내에 변동이 존재한다는 특징을 갖는다. 주성분 분석은 자료의 분산을 최대로 설명하여 자료의 차원을 축소하는 방법이므로 구간형 자료의 주성분 분석은 관측값 간의 분산 뿐만 아니라 관측값 내의 분산 역시 설명하여야 한다. 본 논문에서는 구간형 자료의 세 가지 주성분 분석법을 소개하고자 한다. 또한 기존의 분위수 방법에서 균일분포를 사용하는 것이 아니라 구간의 중심점 부근이 좀 더 많은 정보를 가지고 있는 것으로 보고 절단정규분포를 사용하는 방법을 제안하였다. 모의실험과 OECD 관련 실제 통계 자료를 통하여 각 방법의 결과를 비교해 보았다. 마지막으로 분위수 방법의 경우 화살표 표현법을 통해 주성분 산점도를 그리고 분위수들의 위치와 분포를 확인하였다.

• 대한조선학회논문집
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• 제33권1호
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• pp.161-172
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• 1996

최적화기법을 포함한 종래의 전산 프로그램들은 수치적 계산과정과 그 결과에만 중점을 두고 개발되어 왔으며, 설계모델의 개발과 최적화기법의 선택 및 결과의 판단 등은 설계 전문가에 의하여 수행되어 왔다. 반면에 전문가의 경험적지식을 처리하는 지식기반시스템은 기호처리에 중점을 두고 있기 때문에 수치적 계산을 효과적으로 할 수 없다. 본 논문에서는 수치적인 계산결과만을 제공하는 최적화기법의 한계와 기호처리에 중점을 두고 있는 지식기반시스템의 한계를 극복하여, 보다 현실적인 최적설계안을 도출할 수 있는 지식기반 다목적함수 최적설계 시스템을, 최적화기법과 LISP 언어로 개발한 지식기반시스템을 통합하여 구현하고, 이를 LNG선의 최적설계 모델에 적용하여 개발된 시스템의 유용성을 보였다.

• 한국실내디자인학회논문집
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• 제26권6호
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• pp.81-96
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• 2017

This study aims at establishing a basic theory for the combination of architecture and movies by comparing the long-take technique of movies and the continuity of space, one of space composition principles, which is important in digital architecture based on Jacques Lacan's visual-art theory and finding common features and differences of them. The following is a summary of the conclusions. First, analyzing the long-take technique on the basis of Lacan's visual-art theory found that the subject of representation is scenes of movies and that staring shows features of narrative. Second, the long-take technique can be thought as a cinematic technique which tries to realize the real order beyond the symbolic order in real life through the process of continuous replication of replication of replication of a scene in one shot. Third, in contemporary architecture, which is compared to the long-take technique in the past, the inclined space of opened gaze is similar to the method which tries to realize architectural space of the reality which belongs to the symbolic order close to the real order which belong to significant in human unconsciousness. Fourth, the freeform continuous space of closed gaze, which can be compared to contemporary long take combined with computer graphic technology, has more difficulty in realizing the real order than the long-take technique in the past and inclined, continuous space as the feature which belongs to $signifi{\acute{e}}$ in human consciousness has been strengthened through the circulation which repeats and expands along an observer's movement. Fifth, when the contemporary long-take technique and freeform continuous space expand gaze which opens from the inside to the outside, it is considered that the space which is closer to the real order than the classic long-take technique and inclined continuous space can be created.

• 건축역사연구
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• 제27권2호
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• pp.63-78
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• 2018

Pagodas in Myanmar can be largely divided into Zedi and Pato. Zedi is a developed form of the early domed pagodas in India and Sri Lanka, which can be found in the introduction of Buddhism in Myanmar and the comparison of early pagodas in India, Sri Lanka and Myanmar. On the other hand, Pato is where statues of Buddha were enshrined, which is why many scholars referred to it as a temple. However, this study proposes that Pato shall be referred to as a temple-style pagoda in a form unique to Myanmar, based on the origin of Pato, definition of pagodas, and Sarira Enrichment Record of Pato. Moreover, it seems more appropriate to name this type of structure Stupa Temple(塔殿) or Stupa Shrine(塔堂) rather than a Buddhist temple(佛殿) or Buddhist shrine(佛堂) for clear distinction. Pato, or temple-style pagodas, has a ${\acute{S}}ikhara-style$ structure at the center like Ananda Pato upon entering the Pagan (Bagan) kingdom period, on which Zedi-style structures are built. As a result of examining the integration of various Buddhist schools and religions focused on Theravada during the period of King Anawrahta and King Kyanzittha, the ${\acute{S}}ikhara-style$ structure is a symbolic representation of the fact that Theravada embraced Hinduism. The common features shared by pagodas in Myanmar are the centrality of place and the verticality of $y{\check{a}}ngti{\bar{a}}n$ (looking up to the sky) in terms of shape. All temples are placed at the most important and central space, and their forms represent strong religious $y{\check{a}}ngti{\bar{a}}n$ and verticality. These are the features that stand out most among various pagodas in Buddhist countries.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.244-253
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• 2012

Vincent van Gogh is a Dutch postimpressionism artist that is one of the most influential painter of the 20th century with his vivid colors and sensibility. 'The Bedroom at Arles' is the art piece that van Gogh himself had admitted to be a great artwork, which also reflects the story of his life and inner thoughts. The spacial characteristics of 'The Bedroom at Arles' are amanufactures the following. First, the space shown at 'The Bedroom at Arles' exhibits the phenomenon of undoing the law of perspective by authorizing individual existence to the objects and space, instead of fitting in the objects into the space in the order given by the law of perspective; entirely rearranging the reminiscent space from past. Secondly, the expression 'bedroom' reflects that the subject was about his own experience with the space and a representation of his imagination, which is a metaphorical symbol. Thirdly, van Gogh used strong colors and brush touches to express his subjective opinion, which aren't the actual shades of the scene, but chosen only to approach the space and objectives with his own symbolic interpretation from his heart. Through a synthetic overview of the characteristics of van Gogh's 'The Bedroom at Arles', it could be told that he holds an essential Space perception system, in hir inner self. The space is intentionally rearranged and strangely altered to form an entirely new relation, breaking the tension from the systematically stable rules and orders. 'The Bedroom at Arles' seems to express an unique and symbolic sensation and experience through the combination of its colors and spacial structure.