• Archives of design research
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• v.18 no.4 s.62
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• pp.215-224
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• 2005

With the recent increase of sensitivity to decors, there has been an ever-increasing significance of exhibiting the beauty of the outer looks of an article. This trend has necessarily led to the diversification and also specialization of the color scheme activities. And so, it is inevitable that we should form the substantial ideas of the color scheme and further on, enhance the efficacy of its orientation under the prevailing circumstances. Now, we come to a realization that we must first take a glance at the whole picture of the arrays of color embedded in a variety of articles in the sixties and seventies of the 20th century, a bold introduction of color designs, thereby tracing the birth of color designs and finding a meaning in its mechanism. This study begins with the obtaining of a large collection of articles in those days, along with the literature on the commercial effects color suggest, and looking into the background of their trend and finding a meaning that underlies what these colors suggest. The general idea of those color designs exemplifies that the color selection was none other than the simplicity and convenience in the making of things in doser relation to the easy selling. With the advance of material quality and enhancement of the industrial idealism, it has been proved that color plays an important role in depicting the image of quality and tastes of class. In that role color has been given the indicator of visual delights and differentials in quality articles. All this has been reflected in a diversity of articles: for instance, white for household appliances, prime color for living necessaries and natural color for the decore like furniture. Formerly, after all, people used to have little regard for color. What is color for, it was thought, in relation to the selling image of articles? That is wily our preceding generation pays attention only to the first-hand looks of articles, neglecting the intensive study on color. We are beginning to understand what image a certain color scheme evokes in our feeling.

• Archives of design research
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• v.19 no.5 s.67
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• pp.351-362
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• 2006

Currently, finding one's way in the underground spaces associated with subway stations in large cities is becoming a serious problem, and an environment that facilitates wayfinding is becoming more important. This study investigated interior treatments that function as visual cues in the subway stations of Seoul, Tokyo, and Taipei in order to develop design guidelines that would improve the place-cognition environment. A theoretical study has shown that there are three categories of visual cue for place cognition: marked trails, regional differentiation, and landmarks. The case study showed that marked trails involve treatments like vertical markers, confrontational positioning, and subway color codes. Regional differentiation involves patterns on the floors and walls, and accent colors on the walls and columns. Landmarks include treatments such as super graphics, symbolic features, artistic decoration and special lights. In the cases of Seoul, marked trails and regional differentiation were predominant. In addition, the Olympic symbol 'Hodori' and the ancient Korean character "Hunminjungeum" were used as landmarks. In the cases of Tokyo, regional differentiation predominated over marked trails because of the complexity of the spatial structure and subway line connection system. In the cases of Taipei, simple, unified images predominated, and there was minimal dependence on marked trails and landmarks. The need for regional differentiation was weak, because the stations studied have open structures that guarantee an open field of view. The results of this research could be used as design guidelines, after further experimental verification, that would help to improve the public environment in terms of wayfinding.

• Archives of design research
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• v.11 no.1
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• pp.131-142
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• 1998

Gustav KJimt (l862-1916)was a pioneer in the field of painting and decorative art. He was severly critized by the art critics of the time because of his rebellous art style. He firmly believed that there should exist a new kind of art that should portray the essence of the new liberalized era and that shoud reveal the idea of an artist in his work. Klimt was an aesthetic who sought beauty in life. He represented man as a micro universe within the macro universe. In order to portray man's inner being and to depict the process of life and death in nature, he symbolically employed female entity as a medium. Through uses of the circles, triangles, rectangles, and the spiral forms in his paintings, Klimt symbolized the meanings of man and nature. The circle symbolizes the universe and female entity; the triangle, human being; the rectangle, the earth and male entity; and the spiral, a universal force that attracts the opposite poles. The highly decorative characteristic nature of Klint's paintings and murals has often been modified in the pattern design field. It has been applied to home-furnishings and apparel textile designs, stained glasses, tiles, and posters. The techniques and layouts of these designs have been modified so that they may suit their manufacturing processes. In general, these pattern designs have two spectrums. One is the kind of design that has faithfully carried out Klimt' s original painting style. The other is the kind that has extracted the essence from the Klimt' s original art work.

• Design Convergence Study
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• v.15 no.5
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• pp.71-83
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• 2016

Interior panels are usually used in finishing of interior walls for not only decorative effects but also information transfer. According to designer's design placing interior panels may need repetitive tasks and the emphasis of this paper is to support an automation of these tasks. Considering the utilization characteristics of interior panels, we propose three method to present patterns by using bitmap image pixels and interior panels' shape changes, based on the theoretical consideration. In addition, in order to approve the possibility of the proposed methods, we have implemented the BIM based interior panels auto layout tool which applied one of the three methods to present patterns by using bitmap image pixel values and panel identification attributes. This tool also supports auto generation of quantity and panel arrangement sequence information that will be used in future construction phase. We expect that this approach will also be used in other decorative objects which require repetition of the basic units, such as floor tiles.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.77-96
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• 2019

This study was conducted to grasp distribution of native plants in flower market and uses of native plants in floral decoration. This study was investigated native plants sold in flower market(2017.01-2017.12) and their monthly sales. Also, this study analyzed the use of native plants, frequency of native plants classified by form and color of native plants used for floral decoration in flower magazines 'Fleur' and 'The Flower'. Among 172 species distributed cut-flower, native plants in Korea flower market are only 24 species(14.0%). Number of filler flower(15 species) is more than other forms. Native plants used in 'Fleur' and 'The Flower' were 14 species(10.2%) and 17 species(9.6%), it is meaning that native plants were less used than foreign plants. The number of filler flower was the highest in both magazines, but form flower(299 works) in 'Fleur' and mass flower(571 works) in 'The Flower' are used most frequently. According to color analysis of native plants used for floral decoration, P(purple), PB(navy) and RP(reddish purple) were 57% of the total. It can be increased native plants uses in flower decoration with developing form and mass flower considering color preference.

• Science of Emotion and Sensibility
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• v.22 no.4
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• pp.3-14
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• 2019

The café has become an important representative "third place" where people study and rest. Hence, it is worthwhile for researchers to understand the needs of individual users as well as the requirements of people who visit such venues in groups. The identification of strategies that can help achieve larger, wider, higher, or deeper interior spaces in small and compact locations can generate benefits for both users and designers. In this study, where 56 interior design students participated, we used an eye-tracker and images of cafes to explore the relationships between spatial depth and the intention to visit a cafe space. The researchers digitally developed fifteen different conditions of space and measured the eye movements of the participants using an eye-tracker when they examined images that appeared to convey the most depth. Participants were also asked to imagine the proposed space images as cafes and to select one of the 15 images as the location that they would be most likely to visit individually and one that they would frequent in the company of other people. The research results revealed that certain ways of using interior design elements altered the participants' perceptions of spatial depth without any change being effected to the actual volume or the size of the space. The participants tended to perceive a space with a small decorative artwork on a dark toned wall with unconnected furniture as deeper than a space with no or large artwork on a light toned wall with contiguous furniture. Spatial depth was a more important consideration for an individual visit than for a group visit. The results of this exploratory study will help scholarly understanding of the role played by spatial depth in customer intentions to visit a cafe.

• Archives of design research
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• v.13 no.1
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• pp.149-156
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• 2000

This study focuses on the analyzing the factors that determined Wedding furniture design in Modern period. Final conculusions based of the above mentioned findings are as follows; First, Jangnong has been an essential Wedding furniture item since modern period and little change in the style has been found. Second, Wedding furniture items became more various in kind such as Jangnong, Moon gap, dresser, etc,. The design of these were became bigger in size and more various furniture for storing was included. Third, factors that determired Wedding furniture design were change of family, marriage and Korea's Honsu norms, economic development, industrialization, commercialism, housing and lifestyle. Factors of housing and lifestyle were mainly affected in Wedding furniture design. Fourth, criteria for Wedding furniture design were functionality, fashion, decorativeness, tradition and symbol. But the symbolic importance of Wedding furniture has been weakened as a variety of essential Honsu items. Fifth, it was concluded that a proposed theoretical model of this study was appropriate for analyzing Wedding furniture design.

• Archives of design research
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• v.12 no.1
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• pp.15-24
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• 1999

The deVelopment of technologies changes the thinking of people and the ways of IMngs. The software developers as well as users are now aware of the importance of graphic user interface design, and the usage of graphic elements is getting rrore and more easier due to the technological improvements based on the windows system(Microsoft). For these reasons, people who engaged in software developments do much more efforts to get user-oentered design solutions, in other words, the usability improvements. And the interdisciplinary projects teams which consist of experts of various fields are increasing in number. But, the lack of understanding on software developments and the proceeding of design work without the consideration of entire process of a project make interface design work difficult. For exampIe, some engineers often think designers as persons who decorate their products in the final stage. In this thesis, through the investigation of user interface design and software development process, the frarnework of effective team projects is proposed. The main purposes of this thesis are to define the work area and position of designers and to propose the interface design process for the cooperative software development projects within the interdiociplinary teams.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.