• 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.

• Science of Emotion and Sensibility
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• v.19 no.2
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• pp.79-88
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• 2016

Modern society is living in material affluence after the Industrial Revolution. Meanwhile, consumer needs, in conformity with product diversification, are also being diversified. Modern consumers, unlike those of the past, are trending towards individual consumption that satisfies emotion and values instead of simple goal-oriented consumption. A model case is that of Starbucks. Starbucks has grown into the global coffee franchise it is today through emotional marketing that sells an atmosphere that is unique to Starbucks, consisting of store decorations, store music, employee service, and charming coffee aromas that are identical in every store anywhere in the world. Because this method is marketing that stimulates human emotion, it is assigned to and appeals to human senses and sensitivity. In other words, the charm of emotion marketing is that it draws out consumer emotion, produces positive reactions towards products, and leads to consumption. The utilization of emotions for products or service differentiates brand image and is becoming a key method in reinforcing brand royalty. In particular, more importance is being placed on customer service to strongly impress consumers. Intangible service is becoming the best way to impress customers.

• Journal of agriculture & life science
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• v.45 no.6
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• pp.21-32
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• 2011

This research is intended to study literatures relating to western rocking chairs style in early 20th century in order to provide basic data of designs for rockers of today in Korea and investigate characteristics of rocking chair from academic, formative and pragmatic perspectives. During the first half of 20th century, western rocking chairs (1925~1945) embodied actively the simple functionalism concept that furniture design must follow functionality considerations. Therefore, bare wood rocking chairs were without any surface decoration and tubular steel frame rocking chairs often included black leather upholstery in a bold attempt to express exposed structure. And the fact that tubular steel produced such lightweight furniture was crucial importance. Many Modernist designer created curvaceous lines of new pattern changes in their furniture. The structure of Modern rocking chair became all-important, for stylistic as well as functional reasons. Designers equated exposed structure of tubular steel and wooden frame with integrity and rationality and create an equalitarian style of design. Especially, designers in the early 20th century did use various brilliantly colored upholstery and wooden frame with simple forms of modern characteristics.

• The Korean Journal of Malacology
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• v.29 no.2
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• pp.121-127
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• 2013

In this study, growth-line analysis was carried out on the hard clam (Meretrix petechialis) collected from the Neolithic shell middens in Daejuk-ri, Seosan, Korea, to reconstruct palaeoenvironment. Growth increments of 206 specimens of the clam were examined. The ages of the specimens were determined from the rings on the shells. The relationship between shell length and ring radius in each ring group was expressed as a regression line, indicating a correspondence in each ring formation. Growth pattern of the midden specimens was compared to that of modern ones collected from Gimje, Jeonbuk. Growth curves for shell length fitted to the von Berta anffy's growth curve were expressed respectively as follows: $SL_t=102.9025[1-e^{-0.18657(t+1.0906)}]$ in the shell midden specimens, $SL_t=104.2583[1-e^{-0.2277(t+0.7499)}]$ in the modern ones. The relationship between shell length (SL; mm) and shell height (SH; mm) was expressed by the following equations: SH = 0.7791 SL + 3.6636 ($R^2$ = 0.946) in the midden specimens, SH = 0.8103 SL + 0.5145 ($R^2$ = 0.991) in the modern ones. The results of the tests regarding the differences between regression coefficients and elevations of growth curves of these two populations demonstrate that the slopes were not significantly different (p < 0.05), but the elevations were (p > 0.05). However, overall growth curves of the midden and modern populations were not significantly different, indicating that shell growth environments of the two areas are similar. Therefore, it is likely that sea temperature near the midden area could be similar to that of present Gimje area, and thus temperature during the period of the midden formation could be higher than presently known.

• Science of Emotion and Sensibility
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• v.18 no.3
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• pp.71-80
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• 2015

Minimalism means abstinence characterized by simplicity, clarity, repetition, and exclusion while skeuomorphism means visual metaphor design characterized by retro, function, and emotion. Mobile platform interface has been developed based on those two aesthetic characteristics and user experience is evaluated using apple iOS6 and iOS7 representing skeuomorphism and minimalism respectively in this paper. Those two aesthetic designs on typography, color, and icon were tested with a sample of 35 undergraduate participants in the repeated measures design and the results showed that participants distinguished two types of aesthetic designs, and evaluated that iOS7 is superior to iOS6 on typography and identity. Comparing the levels of the three variables, aesthetic of typography, and accuracy, aesthetic and consistency of icon design were significantly differentiated and this means that although accuracy of icon design of iOS6 is superior to iOS7, iOS7 is superior in the rest of it. Overall, the participants had a positive evaluation toward iOS7.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Journal of International Area Studies (JIAS)
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• v.14 no.4
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• pp.53-78
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• 2011

The day of the Dead, so called as 'El día de los muertos' in Mexico is the traditional festival of the mexicans. There is no doubt that the origin of the festival traces back to the times of the people of Azteca before the Invasion of the spanish soldiers into the land of the soldiers of Teotihuacán. The festival rituals of the Azteca are the same as the catholic rituals in converging the actual characteristics and the cultural structure of the Festival. Therefore the hybridity of the Festival has been considered as high value worthy to be conserved and named as a world cultural heritage by the UNESCO. This investigation has been realized through the survey of questionnaire to get some practical informations and data on how the mexicans think of the Festival and enjoy it according to the diversity of the believes, sexes, locations, ages, etc. We could reveal that the absolute majority of the mexicans consider the Festival as very positive. Even though the sexes, educations, ages can't be elements to make the differences in conforming the common think of the day of the Dead, believes and locations where the people do live are the most sensitive elements that influence upon the ways of thinking. The protestants think negatively while the catholics do reflect the average opinion of the mexicans who consider the Festival as a good and positive tradition. The people of the city participate less than the people of the provinces. Conclusively the day of the Dead can be considered as a national symbol of the people of Mexico.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.62-85
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• 2009

The Nam-Hae Sin-sa, the South Sea shrine in Yeong-Am, Korea was a national institution for public peace and bliss, was excavated in 2000, and the shrine and the 3-way-gate were reconstructed in 2001. Hae Sin-sa, the Sea shrine is a place for religious service separated into the Nam-Hae Sin-sa, the Dong-Hae Myo, and the Seo-Hae Dan. The Dong-Hae Myo was reconstructed, but restored shrine and 3-way-gate of the Nam-Hae Sin-sa is not perfect in comparison with excavation plan in 2000, therefore new reconstruction was researched through the related literature, the analysis of historical maps and excavation results, the interview with the concerned people and the case study. This research defines the analysis of the Plan of the Nam-Hae Sin-sa Reconstruction as follows. 1. The Nam-Hae Sin-sa was the institution for religious service operated by national direct management, represents the shrine for public peace and bliss on the Mountain, the Sea, and the River. Especially the Nam-Hae Sin-sa had an important position on the pivot of international trade with China and Japan, and had a role of main shrine with another one in the Mt. Ji-ri San. 2. The name of the Sea shrine was called as Nam-Hae Sin-sa(the South Sea shrine), Dong-Hae Myo(the East Sea shrine), Seo-Hae Dan(the West Sea shrine). But the name of the South Sea shrine had changed in the early period of Chosun as Nam-Hae Sin-sa to the later Chosun as Nam-Hae Dang through the research of related literature and historical map. Such as the Seo-Hae Dan, it was constructed for the Dan, the flat raised-floor without buildings, and changed to the type of Sa-Dang with addition of buildings. 3. The historical map of Hae Sin-sa informs the types of the roof, the Mat-bae roof was used in the Dong-Hae Myo, but the Pal-jak roof was showed in the Seo-Hae Dan and the Nam-Hae Sin-sa. 4. According to the analysis of Yong-Ch'uck the unit length, Nam-Hae Sin-sa was reconstructed in the period of Koryo on large scale, but it was restored in the Chosun on middle scale. And the Unit of Yong Ch'uck was changed into Yeong-jo Ch'uck in the period of Chosun. 5. As the results, The Plan of the Nam-Hae Sin-sa Reconstruction designed the new shrine into the 3 Kan front and the 2 Kan side with 3:2 scale. An-ch'o-gong with Yong-du and Yong Mi the ornaments represents head and tail of dragon, the Un-gong and the ornament of Pa-ryun-dae-gong in the building, and the Ch'ung-ryang of the Yong-du show the image of the institution for religious service for the god of the sea who look like dragon. The inner gate building and the main entrance were designed as same plan and scale as Hyang-gyo, the Korean Traditional School and Shrine of Confucianism, on the basis of results of excavation. Raise the 3-tall gate of the main entrance with harmony of the scale and the shape, because the side of gate building has the Mat-bae roof. 6. This research shows that Plan of the Nam-Hae Sin-sa Reconstruction is composed into shrine space and reservation space from the main entrance to inner gate and shrine like Jung-ak Dan in the Mt. Gye-ryong San, and it also informs the well in the west side of Sin-sa is an important factor of the plan of shrine architecture.

• Journal of Korean Society of Forest Science
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• v.82 no.2
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• pp.188-194
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• 1993

A natural Quercus variabilis forest and a Populus alba${\times}$P. glandulosa plantation in Mt. Mohu area were studied to investigate aboveground biomass and net production. A $20m{\times}30m$ quadrat was set up in each stand, and 10 sample trees each of Quercus variabilis and Populus alba ${\times}$ P. glandulosa were cut for dimension analysis. There was little difference in accuracy among three biomass regression models of logWt=A+BlogD, $logWt=A+BlogD^2H$, and logWt=A+BlogD+ClogH, where Wt. D, and H were dry weight, DBH, and height, respectively. Aboveground total biomass of Quercus variabilis stand was 31,275kg/ha, and that of Populus alba ${\times}$ P. glandulosa was 55,581kg/ha. In both of Quercus variabilis stand and Populus alba ${\times}$ P. glandulosa stand, the proportion of each tree component to abovegound total biomass was high in order of stem wood, branches, stem bark, and leaves. Quercus variabilis stand was higher in the proportion of stem bark, branches and leaves than Populus alba ${\times}$ P. glandulosa stand, while the former was lower in that of stem wood than the latter. Aboveground total net production of Quercus variabilis stand was 4,267kg/ha/yr., and that of Populus alba ${\times}$ P. glandulosa stand was 3,903kg/ha/yr. The proportion of each tree component to aboveground total net production of Quercus variabilis stand was high in order of leaves, stem wood, branches, and stem bark. That of Populus alba ${\times}$ P. glandulosa stand was high in order of stem wood, leaves, branches, and stem bark. Net assimilation rate and efficiency of leaf to produce stem of Quercus variabilis stand were 2.121 and 0.840, respectively. Those of Populus alba ${\times}$ P. glandulosa stand were 3.376 and 2.085, respectively. Though Populus alba${\times}$P. glandulosa stand was lower in aboveground total net production than Quercus variabilis stand, the former was higher in aboveground total biomass than the latter. The reason was that Populus alba${\times}$P. glandulosa stand was higher in net production of stem wood of accumulation organs than Quercus variablis stand.