• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.15-26
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• 2015

The Daegu Metropolitan Transit Corporation Advisory Committee has chosen 5 styles of bridge-pier designs, including coating, graphic, planting, billboard and safety-facility style, based on the results of landscape simulations from a previous study. This study was conducted to investigate citizen's preferences and emotional images for each style of bridge-pier design, by aiming at the pilot urban landscape improvement section from Daebong Bridge in Suseong Gu to the crossroads near Dongseong Elementary School in Daegu Metropolitan City. The questionnaire was drawn up regarding the urban landscape improvement plans applied to the research area, and the questions were about citizens' perception of bridge-pier structures generated by constructing a light rail transit, important factors to consider when designing bridge piers, preferences for each style of bridge-pier design and emotional impact. 60.4% of the survey participants were found to perceive bridge-pier structures as unattractive, so it was necessary to improve them aesthetically. Regarding visual factors of bridge-pier designs, color was most important at 5.81, followed by form at 5.57. Regarding aesthetic component factors, harmony was most important at 6.07, followed by amenity at 6.00. In the survey participants' preference for each bridge-pier design, the graphic style was preferred most at 4.14, followed by the planting style. In emotional adjectives used for each bridge-pier design, the coating style, the safety-facility style and the non-treatment style showed similar results, and all of these styles were evaluated as artificial, lifeless and desolate. The graphic style and the billboard style showed different tendencies, depending on visual factors and aesthetic component factors applied to the graphic design used for these two bridge-pier styles. Since natural materials were used for the planting style, however, it showed high preference for such emotional images as natural and lively. The emotional adjective 'amiable' was found to affect citizens' preferences for each bridge-pier aesthetic improvement plan most, and it was also analyzed to have an effect on all the styles of bridge-pier designs. To improve the landscape of a light rail transit being constructed inside the urban area, this study quantitatively extracted citizens' preferences and emotional adjective for every style of bridge-pier design applied to the pilot urban landscape improvement section, and it is expected that the results of this study will be used as basic data to improve the landscape of bridge piers.

• Korea Science and Art Forum
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• v.19
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• pp.281-292
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• 2015

For this study, I conducted a survey investigating current situation, user preference, and field experiment. Hospitals utilizing digital sign systems at least five years were selected, which are connected with visual elements (layout, typo, color) used in waiting areas and elements of the systems (time, video time line). The results obtained from the field survey showed that digital sign systems used the color of typo and background contrasted to one another to increase explicitness and to ensure easy understanding of contents. In addition, the Gothic typo with relatively high legibility was adopted. Time and video timeline, which characterize digital sign systems, showed the advertising screens of the hospitals and the guidance of medical treatment at regular intervals. Moreover, survey results on user satisfaction showed that a majority of respondents indicated they had difficulty in understanding digital information conveyed from digital sign systems due to time setting for rotational speed or the small size of typo although most of the users had previous experience with digital sign systems. The highest proportion of respondents (n=86, 86%) answered that information related to medical departments was what they sought most frequently and that this kind of information should be importantly considered in digital sign systems. For the experiment, new samples with restructured contents of current digital sign systems were created and tested while keeping its design unchanged as well as applying these new samples. Study participants were in their 20s through 50s. When the size of typo was larger under the same conditions for all age groups, study participants found the desired information approximately 3.5 seconds faster. In addition, those in their 20-30s and 40-50s showed the time difference of 4.7 seconds for small typo and 6 seconds for large typo, which suggested that there was a difference by age in the amount of time taken in the experiment to find the desired information from the rotating digital sign system regardless of age and the size of typo.