• Journal of Korea Multimedia Society
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• v.12 no.3
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• pp.460-471
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• 2009

This study is the research on sensitivity in the web. The main purposes of the study are to present the objective criteria on sensitivity of web users and to help embodiment of successful design. The study has overall two main subjects, which are the contents and results. They are as follows. First, the study is going to develop sensibility factors and the sensitivity structure model. Second, based on the study above, the further stage focuses on the correlation between sensibility and figurative factors in the web design. By understanding of the correlation between sensitivity and figurative factors, the study assist designer in the embodiment of successful sensitivity design. And it shows one of the various approaches to sensitivity. In the end, it can be considered as a process to make an objective criteria on sensitivity design at the same time expected to play a role providing designers with rational guideline on work and evaluation and helping the presentation of successful sensitivity design.

• Proceedings of the ESK Conference
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• 1993.10a
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• pp.76-88
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• 1993

환경은 한 사회를 다루는 지엽적인 문제가 아닌 생존을 위한 생태학적 장임과 동시에 모든 학문연 구의 기초를 이루고 있는 토대이기도 하다. 그러나 환경에 대한 디자인의 현재의 접근방법은 밖으로 표출되는 단편적인 부분으로써의 개체를 볼 뿐 생물유기체와 환경을 형성하는 인간과 물질, 또는 인 간과 인간의 관계성과 유기체론적 접근에 대한 고민과 문제해결 위한 노력이 등한시 되어왔다. 이에 본 논고는 디자인계획 대항으로써 뿐만 아니라 인간이 영위하며 문화를 형성해 나가 총체성의 분야로 써의 환경을 어떻게 이해할 것인가와 색채적용의 문제에 초점을 맞추고 있다. 이것은 또한 앞으로의 디자인이 한개인의 추관적 가치평가에 따른 조형적 표현이 아닌 인간의 행태-환경개념으로써의 학문적 접근인 종합과학적 접근(inter-disciplinary approach)으로 나아가야 함을 제시하는 것이다.

• Archives of design research
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• v.17 no.3
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• pp.335-342
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• 2004

Recently there have been various research activities regarding Korean traditional aesthetics. However, those researches were mainly conducted individually, partially, and periodically, which resulted in unsystematic and incomprehensive works. Therefore, it is required to orginze all the precedent research works with more systematic and objective framework. Generally speaking, all the human activities including aesthetic activity have ends, procedure and means. In other words, human being needs three key elements for realizing any thought and those three elements include contents, formal, and practical element. Element of contents is ultimate goal to accomplish as value, concept, and meaning of thought with their aims. Formal element includes methods, principles, norms, procedure, formality and style comprising of thought in order to accomplish the goal. Finally, practical element refers to specific means, tool, media, material and techniques to concretize the contents through form. Almost all of thoughts and meaning which human being tries to express consist of language. Major elements in sentence include 'subject (omissible)' , 'objects (aim)', 'predicate (formality)', 'complement (means)' and they are composed systematically and hierarchically with rules in sentence. The study compared human activity model with language structure and analyzed their implication with design (aesthetics), which made it possible to propose analytic frameworks for traditional aesthetics. In addition, the study also systematically organized the way to realize traditional aesthetic value in the present context based on the methods developed in this study.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.64-77
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• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• The Journal of the Korea Contents Association
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• v.8 no.3
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• pp.86-96
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• 2008

General development basis of letter system is recognized by formative value in terms of its function and structure. principle of clustered writing is the most significant feature of Hangeul typography as considered that it is based on function and formativeness. Thus, not only by changes with its form but also by its characteristic syllable combination, space structure is made as consonants and vowels are combined in single letter, then the combination develop into word, sentence, paragraph to make second, third space structure character. This character has significant impact on readability that is core function of typography. With this property, space structure character is regarded as very important component of Hangeul typography. First, space structure character of Hangeul typography is reviewed by relating it to visual perception of gestalt psychology and compared square-framed letter and framed latter By applying square-framed letter and framed latter in same sentence, legibility and readability were studied. Researcher has found that space structure character of Hangeul typography has significant impact on its function, and in terms of future design, it is very critical not only for design but also for communication environment as space structure formativeness of Hangeul typography interact with communication that is basic concept.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.1
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• pp.53-73
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• 2014

Given that emotion-based computing environment has grown recently, it is necessary to focus on emotional access and use of multimedia resources including images. The purpose of this study aims to identify the visual cues for emotion in images. In order to achieve it, this study selected five basic emotions such as love, happiness, sadness, fear, and anger and interviewed twenty participants to demonstrate the visual cues for emotions. A total of 620 visual cues mentioned by participants were collected from the interview results and coded according to five categories and 18 sub-categories for visual cues. Findings of this study showed that facial expressions, actions / behaviors, and syntactic features were found to be significant in terms of perceiving a specific emotion of the image. An individual emotion from visual cues demonstrated distinctive characteristics. The emotion of love showed a higher relation with visual cues such as actions and behaviors, and the happy emotion is substantially related to facial expressions. In addition, the sad emotion was found to be perceived primarily through actions and behaviors and the fear emotion is perceived considerably through facial expressions. The anger emotion is highly related to syntactic features such as lines, shapes, and sizes. Findings of this study implicated that emotional indexing could be effective when content-based features were considered in combination with concept-based features.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.190-199
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• 2020

Globally, more super-tall buildings tend to be constructed competitively in the social and economic foundations. In the circumstance, this study is aimed at establishing a paradigm of super-tall buildings in terms of their various forms. Symbolizing a city or state, super-tall buildings not only are used as resources of tourism, but play an important role as a characteristic landmark. Therefore, it is necessary to find a curved form for a futuristic perspective. The purpose of this study is to infer the convergence relativity of curved forms among complex and diverse unstructured construction forms. This study used as subjects 50 super-tall buildings among the ranking data selected Council on Tall Buildings and Urban Habitat (CTBUH) in order for the basis of constructability related to actual design, rather than the way of recognizing a formative type, in the classification of curved forms into regularized surfaces, developable surfaces, and double-curved surfaces. The results of this study are presented as follows. This classification can be used as a fundamental material which is reasonably involved in the design process pursuing diverse curved surfaces in terms of design of tall buildings.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.66-81
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• 2009

The purposes of this study were to analyze the formative relationship between Surrealistic clothes and hat with the focus on the period from the 1990's to 2008 and to find out the development direction of next hat design. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. Hat design of surrealism was cylindrical or tear drop in a shape according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and was similar with the Form of a jacket, a sleeve, or a skirt. In color, accent color coordination mainly appeared and sometimes contrast color coordination induced illusion effect. In material, a variety of materials were used according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and contrast was widely used like color. In Decoration, the decoration or pattern of clothes was intactly applied to hats. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• Archives of design research
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• v.20
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• pp.25-36
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• 1997

Design style is studied to examine the design essence more clearly which is revealed as a formative substance. First of all, every effort can be made to understand the peculiar characteristic of design style by considering the linguistic source and meaning of design style. On the basis of this, picturesque style, mechanical style and expressive style are searched to establish the types of design style, inspect the every style's characteristic and focus on revealing the relations between the creation of design value and the style. Finally, changing factors of design style is researched to suggest the effect and direction of design development.

• Journal of the Korea Convergence Society
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• v.9 no.4
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• pp.127-135
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• 2018

Men are ambivalent since they have good and evil at the same time. To concretize this evil further, men created symbolic icons of evil with formative elements by giving shape to it. Thus, this researcher would investigate and analyze the concept of evil and the formativeness appearing when the essence of humans' evil is expressed as symbolic icons. For this purpose, items for the classification of formativeness were constructed, and questionnaires were prepared to draw the results of an analysis as follows. As for the type of composition, symbolic icons of evil were expressed by pictures or signs, rather than letters. The objects of expression were characters and animals in myths. As for the layout, most were expressed in a radial shape. As for the method of description, most were in the forms of simplicity and complexity, and as for the outer form, most were circles. It was noted that the symbolic icons in which items with these types of composition had high scores, were drawn, used and developed in formative relations with each other.