• Journal of the Korean housing association
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• v.25 no.6
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.62-69
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• 2015

The purpose of this research is to analyze the methods of the decorations using module plants in interior spaces. This research produced 18 types of the module plant decoration: considering the classifications of module plants(soil, hydroculture, moss), directions of module plants (up, side, down), assembling ways of module plants (horizontal, vertical). Applying these 18 types to the interior space decoration (floor stand, wall attach, ceiling hanging), 54 types were classified. After that, 150 cases of the decoration using module plants in interior spaces were collected and analyzed. In result, the cases were belong to 25 types of 54 types. The important types were the types to be able to decorate wide area of walls or ceilings without occupying floor area: SOIL-UP-VERTICAL, HYDROCULTURE-UP-VERTICAL, MOSS-SIDE-VERTICAL. These types were the decorations with function of bio-filter for air cleaning. Special types were SOIL-SIDE-HORIZONTAL, SOIL-SIDE-VERTICAL with soil developed not to pour and SOIL-DOWN-HORIZONTAL, SOIL-DOWN-VERTICAL with lucks not to pour soil. Plants will be used widely in interior design because of the awareness of eco-friendly design. The strength that module plants are portable, changable, able to exchange parts helps users to maintain plants in interior spaces. For designers, module plants are flexible materials in order to make variety of forms to adjust to interior spaces. The results of this research about methods of the decorations using module plants in interior spaces are useful to designers who want to design interior spaces eco-friendly and user-friendly.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.405-410
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• 2019

This study is an primary analysis on convergence of porcelain lacquer painting art which is composed of porcelain art and raw lacquer technic. As a part of ceramic art, this study suggest 3 ways of porcelain lacquer decoration with understanding of its history and contemporary status. Lacquer technic gives stability for surface paintings and it also has various media to express its beauty. Porcelain lacquer decoration art contains artistic value and pragmatic purpose for daily life usage. These days, due to unavailability for mass production, it tends to be tried for art work purposes. However this artistic technic and value can be applied to porcelain goods, so that it will raise aesthetic pleasure and cultural diversity.

• Architectural research
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• v.1 no.1
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• pp.17-22
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• 1999

The purpose of this study is to investigate the ways in which cultural beliefs influence the lifestyles of the residents and environmental activities, especially decorations on the fronts during holiday seasons. The relationship between holiday displays and cultural values are investigated in the study. This research conducts a case study of two ethnic neighborhoods to understand cultural identification, attachments and environmental decoration. The neighborhoods were visited and their activities were observed during the holidays including Easter, Thanksgiving, Halloween and Christmas from 1992 to 1995. Exterior decorations were measured by a field survey of the frontal areas of 200 houses. This study confirms that the fronts are recognized and evaluated as cultural communications. The holiday decorations and celebrations are intimately related to cultural dimensions. Distinctive groups use different environmental elements in the celebration of holidays. Each culture is distinguished by its own rituals constituted by the interweaving of space and activities.

• Journal of the Korean housing association
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• v.5 no.1
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• pp.17-27
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• 1994

The Purpose of this study is to classify the life styles of urban residents in apartments and to find out possible correlation with their preferences on interior ambience.The selected samples were 3,000 residents from Seoul, Pusan, Kwaungju and Cheonan, and 2,750 of them were analyzed.'The results can be summarized as follows.1.The life style patterns were classified into S types, namely organized type, decoration-oriented type, self expression type, practicality-oriented type and fashion-oriented type. 2. Interior image were classified into 4 types, namely characteristic image, contemporary image, classic image and rich image.3. The interior preference was correlated with the life style patterns, such as organizd type preferred to contemporary image, decoration-oriented type preferred to rich image, self expression type preferred to classic image and practicality-oriented type preferred to characteristic type.4. The patterns of life style and the interior preference differed significantly according to the size of apartment and the age of owner.

• Journal of the Korean housing association
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• v.8 no.1
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• pp.77-85
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• 1997

The purpose of this study was to estimate the quality if New Town housing environment, and to present the direction of design policy to elevate it. For this study questionnaires were administrated to 272 homemakers living in apartment in Bundang. From 1st of May to 31st of May in 1995. Used statistical method was Frequency. Percentage. Mean, Factor Analysis, Correlation, Multiple Regression. The major finding is as follows : 1) Housing values were classified into five types : convenience, beauty, sociality, education, and economy, Resident ranked first economy among housing values the second is convenience, the third beauty, the forth education, while the most unimportant value is sociality. 2) House satisfaction was classified into four types : house size and plane structure, environment and facilities, interior decoration materials and facilities and building design. Residents were found to show the middle degree satisfaction on their house. 3) Housing complex satisfaction was ciassified four types : community facilities, management stage, neighborhood connection and complex facilities. Resident showed dissatisfaction on their apartment complex relatively. 4) Residents showed dissatisfaction on the interior decoration materials and facilities, local facilities and management attitude relatively.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.52-68
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• 1999

The purpose of this study was to be inquired inner contemplation of the tattoo expressed in the modern costumes. For this study, related documentaries and pictures or photos were analyzed in terms of the theretical background for the history of tattoo, the relation between tattoo and the modern western costumes. The primary source of pictures or photos are Vogue, Collections, Collezioni, Harper\`s Bazaar, Modain, Model et Mode etc. The human\`s needs of body decoration had constantly pursued on the body and costumes from the first until lately. Especially in the recents, as the tattoo is implicated a dynamic and charming method of all kinds of body decoration, it\`s used a motive of modern western costumes. The original tattoo means a picture, word etc. that was put permanently onto their skin using a needle and coloring matter. But, these days tattoo is an expression of street style for something new in the subculture. The results were as a follows : The inner meaning of tattoo represented in the modern costumes was classified into two categories. First, the tattooing was a very important factor to complete fashion design through the history of modern costumes, and also the elaborate tattoo of the body was displayed unrestricted formativeness as the skinhead\`s tattoo, raceless\`s ambiguity of street style and artistic decoration, because that can be faded easily. Second, Tattoo Look was expressed as tattoo prints of the see-through, elastic textiles in the modern costumes. That is, the tattoo enhanced the effect of dramatic atmosphere other formative arts as well as the modern costumes by Tattoo Look. Similarity, Tattoo Look could be interpreted as the change of the aesthetic consciousness by the influence of the subculture. Accordingly, in the end of a this century, many experimental designers had applied tattoo to modern costumes. So this study will stand as an important clue to foresee the future costume\`s style and change.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.58-69
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• 2005

The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Amitabha of the late Koryo Dynasty. The results were as follows; The type of 'Seon' is classified into Standard, Decoration and Application types. According to three types, the types of the standard are subdivided into same rotor and no pattern and different color and no pattern, the types of the decoration are subdivided into same color and pattern and different color and pattern, And the types of the application are subdivided into wrinkle and beads-decorated wrinkle according to whether decorative beads exist or not. In the Standard type of Seon, same color and no pattern in the Decoration type of Seon, different color and pattern was most often used as its type while, in the applied type of Seon had its main type of beads-decorated wrinkle. Patterns used for Seon were complex in its composition type and filing in its arrangement style. Seon was used mainly for guneui(裙衣) and daeeui(大衣). The color arrangement of Seon, in most cases, used complementary colors, followed by same ones. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and plain when their Seon was same color and no pattern in type, artificial and plain when their Seon was different color and no pattern in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern. In regard to the applied type of Seon, such costumes looked sophisticated and delicate when their Seon was wrinkle in type and dynamic and decorative when beads-decorated wrinkle.

• Journal of the Korean Society of Costume
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• v.37
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• pp.47-69
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• 1998

The purpose of this study is to inquire the hair, head-dress and clothing(upper clothing: Veil, Samkaksika, Sash) of Bodhisattvas in Dunhuang Mogaoku of the period from Northern Liang Dynasty(421∼439) to Tang Dynasty(618∼907). The method of this figure and the change of clothing form : 'Dunhuang Mogaoku'1st Volume-4th Volume. The Bodhisattvas' hair style are somehat various ; A part in her hair, Suibal, Gae, Sakbal. A part in Bodhisattvas's hair is observed from Northern Liang Dynasty to Sui Dynasty. But Suibal had been continuous succeeded. Meanwhile, in the periods of Sui and Tand Dynasty, there were the hair styles whose ends were curled up. It is called Eulle Meor-ee. Especially, in Tang Dynasty various styles of Gae were appeared. Doogun was observed from Northern Wei to Tang Dynasty. There were three kinds of head-dress; Samsikkwan(having 3 decoration), Bokwan and Jungmeunkwan(appeared in Tang Dynasty). Meanwhile, Sash let was become more and more decorative. The Upper clothing can be classify into Veil, Samkaksika, Sash, etc. Veil were observed in every period but X shaped one was form Northern Wei and U shaped one was from Northern Zhou Dynasty. After the period of Sui Dynasty U shaped Veil become prevalent. Samkaksika was observed for the first time in Northern Zhou Dynasty. Cutted sam-kaksika was appeared in Sui Dynasty and succeeded to Tang Dynasty. Poncho tyed Samkaksika was also observed in Tang Dynasty. In Westhern Wei Dynasty. daesupo was used into outter garment, which us that chinese influence was deep tell. Sash showed up in Tang Dynasty and it is used for Veil for the whole period of the Dynasty. But using sash for veil was formally hanged on going the lated period of Tang Dynasty. We can observe the sun-moon decoration and the wings of a bird decoration at the Bokwan, Veil, Samkaksika and Sash, etc. It is was the influendce of Sasan Per-sia and India. I will fill up the insufficency of this study wity continous research of ornament(Muktahara) and skirt of Bodhisattva and deeper inquiry of the relationship around the many countries.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.155-168
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• 2006

The purpose of this study focusing on the gather decorations shown in the modern fashion was to review needlework techniques and design features of gather decorations and thereupon, analyze the aesthetic characteristics of gather decorations shown in designers' works to examine the gather decoration trend in today's fashion. First, the decorative features of gather decorations different from the conventional costumes are shirring, lace and trimming combined or shirring repeated. Second, in view of sensualism, the gather decorations seem to play a role of enhancing the exposure as a mode of expression, while the indirect exposure or beach is mixed with the materials to widen the range of gather decoration expressions. Third, in terms of history, the conventional decorative techniques are combined with new techniques and materials to create a fantastic and romantic mood different from the conventional costumes. Fourth, in view of rhythms, the wave line of the rim for gather decorations serves to express some vivid effects; on the human body, its monotonous plane repetition will turn into a new expression or a voluminous physical sense of motion. However, since expressions or meanings of the gather decorations are much diversified, they should not be regarded as simple decoration details. Our modern designers searching for new expression of creases use unique structural forms to explore the possibility of creative gather decorations. In all, since gather decorations seem to be significant as unique details conducive to a structural pragmatism and aesthetics, it is deemed necessary to continue to develop gather decorations.