• Korean Institute of Interior Design Journal
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• v.27 no.3
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• pp.41-48
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• 2018

This thesis is a paper comparing Adolf Loos and Antoni Gaudí's 'theory of ornament', based on their text. Adolf Loos and Antoni Gaudí are architects who had worked from late 19c, just before advent of Modernism architecture, to early 20c. When 'ornament' had started to be excluded from architecture according to development of industrialization and capitalism, Loos and Gaudí have both written about 'ornament.' Generally, Loos is known to have possessed rational mind and designed modern building with no ornament, and Gaudí is known to have possessed romantic mind and used splendid ornaments. For those reasons, it was assumed that two architects would have contrast opinions regarding ornaments. However, analysis of two architects' major text reveals that their theories of ornament are fundamentally analogous. Loos and Gaudí both argue dissolution of past normative 'ornament' and claims that rational 'ornament' that fits modern time is possible. Interestingly, intentionally adopted ornaments exist considerably in architecture of Loos. On the other hand, in Gaudí's architecture, there are many points where Gaudí had restrained ornaments. This thesis organizes similarity and differences of two architects' 'theory of ornament' through their texts and works. Moreover, this thesis suggests that then today's architecture aims to restart a debate on 'ornament', it is worth reviewing texts of Loos and Gaudí.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.56-63
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• 2005

This study aims to understand the ornamental space in Art-Nouveau style which was made up the ornamental aspect and spatial aspect. So that It is needed to classify the ornamental space into three categories according to the way of construction; pictorial composition, non-objective composition and organic construction. To find the meaning of these ornamental spaces, works of Art-Nouveau are analyzed into ornament and space, in result we know that process of integration, relativity of ornament as a part and forms of expression in ornamental space have some regulation; use of natural motive, repetition of image and organic combination. Whereas the ornamental space in Art-Nouveau style has comprehensive capacity between antagonistic relations just like tradition and new mechanism, the space could receive a lot of different ideas and express these ideas as ornaments. Although the ornamental space also had weak points which were the lack of transformation and the difficulties of the application of other design due to the perfection itself, we could create new space which meets the requirements of the times, if we develop and make up for the weak points in the ornamental space under the principles of dialectic.

• FLOWER RESEARCH JOURNAL
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• v.16 no.3
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• pp.186-195
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• 2008

This works were developed for showing the diversity in natural and unnatural compositions. Floral designs works were created by using potted plant. Structures of spherical, cylindrical, pyramidal, and parasol type were constructed ahead of decoration with potted plants. Containers made of transparent umbrella, pottery, jute, etc. were used for planting plants. Novel ideas to decorate uncomfortable spaces were presented. As appreciation period of potted plants is long, it is expected that the designs and works using potted plants will be suitably utilized in various space.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.99-106
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• 2024

This study classifies images according to changes in wedding hair and equipment and approaches and presents creative designs using pearls and crystals to preserve the subtle and soft gloss of pearls. In addition, in modern times, it is intended to help women as a new part of hair art design art expression by expanding their choices with unique designs and decorative means that give women a special sense of humor by expressing them in various materials and forms in creating complementary and individualistic hairstyles. A total of three works were produced and analyzed to shape images according to changes in wedding hair jewelry, which can create designs by harmonizing the subtle and soft gloss of pearls with the splendor of crystals, so that they could be provided as new motifs for real-life marketability in creative and original hair art. The work was produced by the design intention and method, design development, production intention, production process, and work completion. It was possible to derive a unique up-style decoration that reveals one's personality while having both practicality and decoration. It is expected that the research on colored hair art design will continue as a motif for the development of hair art works and the commercialization of real life.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.168-174
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• 1998

In the Western Civilization you can clearly see the change in the architectural system. In the 19th Century many of arcitectural style resurrected in the appearance of style revival. And each of the Style's appropriateness and exactness were very complicatedly discussed. After the middle of 19th Century a series of morality movement which showed an expectation for a historical revival started to show declining atmosphere. To architects at the periods more universal formation seeking and new surpassing style pursuing logic has exacted which care from very different from the past During this period a question were brought up about architecture ornamental rightness and appropriateness. As each of the architects had a saying about the ornament was recognized as important part of architect. On this bases this study's purpose is finding out whst is the maeaning and content of G.Semper's "Bekleidungstheorie"

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.11-16
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• 2004

Adolf Loos studied at the Dresden Institute of Technology. He lived in America from 1893 to 1896. On his return to Vienna, hi worked for a year with the architect, Carl Mayreder. From 1897, he wrote extensively on design and architectural matters. In 1908, his famous article "Ornament and Crime"(Ornament und Verbrechen) was published, in which he linked the use of excessive decoration to a debasement of society. For Adolf Loos, it was a question not of renunciation of every ornament, but of the liberation from superfluous ornament. Where ornament was pastes on only, without connection with the subject or the building, and where ornament was not honest with the hand put on, the ornament is supposed to be removed. Onto the place of the ornament the joy of the material and the shaping should step. That the opinion of Adolf Loss is not correctly understood Is due on the one hand to the concentration on the 'ornament and crime' too very much. On the other hand his extreme Position is supposed to be understood more as thinking-impulse, more as provocation.ovocation.

• Korean Institute of Interior Design Journal
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• no.2
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• pp.40-45
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• 1994

This thesis is to research the change in attitude regarding the architectura ornament. One of the key dogmas within Modern Movement of art and design was anti-ornamentalism. The modernist had revolted against ornament and believed that the greatness of the modern age might lay in its inability to produce a new form of ornament. Architectural ornament has been passed through an process of evolution in a decadent stage. In this context, the purpose of this study is to identify historical meaning of architectural ornament in the age of transition toward Modernism.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.88-89
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• 2000

대중문화의 용어는 독일어로서 '마스'(Uass)와 '쿨투어'(Kultur)의 복합어이다. '마스', '마센'(복수: 많은 정도를 의미함)이란 유럽사회에서 비귀족적이고 교육을 받지 못한 계층으로, 오늘날 중하 이하 계충의 사람들을 칭하는 말이다. '쿨투어'(문화라는 의미)는 영어의 '하이 컬처(high cultur) 즉 고급문화'로서 유럽사회의 교육을 잘 받은 엘리트 계층이 수용하는 미술, 음악, 문학 등과 상징적 산물인 건축의 실내외 장식, 조경 등을 가리킬 뿐만 아니라 이러한 문화예술의 애호가들인 교양인, 지식인의 감정이나 사고의 유형 등까지도 포함하는 말이다.(중략)

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.