• 한국실내디자인학회논문집
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• 제27호
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• pp.120-127
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• 2001

The purpose of this study is to examine the characteristics of space design of Isamu Noguchi's works barred on the stage sets and environmental designs. From the end of 19th century, space which was begun to be studied about in architects has continued to be researched by not only scientists but artists. Recently, space Is expressed in free and new forms due to diversity of societies and advancement of technology, As a result, space has become an essential part in art and is used in the titles of many art exhibitions. This study scrutinizes space in Isamu Noguchi's works. No other 20th century artist has as clear and progressive space conception as Noguchi's. His notion of modern art was modified through space in the tradition of cubism and Russian Constructivism and Bauhaus. Combined with his experience in the traditional Japanese houses and gardens, these influences led toward a broadened conception of sculpture as the creation of living space. These modernist's characteristics are found in his early expression of stage sets for choreographer Martha Graham, and they would lead to a wide range of design activities, from gardens and interiors to fountains and furniture. Isamu Noguchi had created a body of work that crossed the boundary between fine and applied art as a sculptor, and as an environmental designer.

• 디지털융복합연구
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• 제11권10호
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• pp.689-694
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• 2013

공예문화산업은 '공예 문화로 이루어진 산업'의 의미보다는 '산업으로서의 공예 문화'로 이해하는 것이 바람직하다고 본다. 공예문화산업은 기능, 기술, 기법 또는 토속 원재료를 근간으로 하여, 생산되는 조형제품으로서 제조과정의 주요부분이 수공예적인 특성을 가진 제품을 제조하는 산업을 말한다. 오랜 세월을 걸쳐 역사적으로 전승하여 형성되어온 특정의 공예 문화 관련한 산업이다. 이를 살펴봄으로써 공예문화산업만이 가지고 있는 고유한 특징과 가치를 이해하고 공예 활동이 더 이상 제작의 차원에만 머무르지 않고 제작, 유통, 개발 등 공예문화산업으로 한 국가와 민족의 전통성을 계승하고 표현하는 대표적인 공예 문화 산업분야로써 발전방안에 대한 시장성 연구를 통한 발전방안을 제시하고자 한다.

• 건축역사연구
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• 제27권3호
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• pp.73-82
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• 2018

Gosan(孤山) Yun Seon-do is a literary artist and poet, Nogudang House(綠雨堂) is an invisible space composition a ${\Box}$-type of arrangement in Jeollanam-do. The study of related architecture together with Gosan Yun Seon-do has been studied variously early, Mostly, the study of the life of Haenam Yun clan(海南尹氏) and the life of Gosan Yun Seon-do. In this study, HaeNam Yun compares the houses under the roof of the public house centered on buildings. In this study, we compare and analyze Nogudang House and Gongjae Historic House(恭齋古宅), Yun Cheol-ha's Historic House(尹哲夏古宅) in the Haenam Yun clan's house building. Analyze the characteristics of architecture and analyze changes in space usage and components and settlement process. The purpose of this study is to clarify differences in structural features and to analyze what structural characteristics maintain structural characteristics. In the comparative analysis process, architectural characteristics are used as variables and each correlation is investigated, and shape difference is analyzed by difference analysis. In addition, the architectural characteristics are analyzed by analyzing the relational factors influencing the morphological change, focusing on the results of the analysis of differences between the comparative analysis objects.

• 한국실내디자인학회논문집
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• 제17권4호
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• pp.50-57
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• 2008

Futurism can be defined as a movement in the early 20th century founded by Italian writer Marinetti apposing to traditional and conservative art. Though its life as a movement seemed to be fairly short, it can be said that the very essence of futurism can be seen whenever there is radical change in our society such as the information revolution. Even though the information revolution has brought us many positive improvements our life including art and design, lately there are also discussions about the defects in our life. Ron Arad may be considered as a designer and artist whose intentions and expressions are very similar to those of futurism. This study investigates concepts, meanings, and expressions of futurism in art history and then those of Ron Arad's shown in interior design projects. By examining selected project examples the author defined that rather than optimistic viewpoints, avant-garde and technological aspects were found to be strong in symbolic qualities. As for expressive qualities, dynamism and continuity appeared to be Ron Arad's unique expressions, very similar to those of futurism on the other hand, purity and temporarily were found less. It is hoped that the study may be a help in better understanding futuristic qualities of Ron Arad, one of the radical and experimental designers of our age.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.12-19
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• 2009

The characteristics of light in the paintings of Rembrandt van Rijn, Johaness Vermeer and Edward Hopper are very different. While Rembrandt and Vermeer lived in the 17th century, Hopper lived in the 20th century. Although this time gap, comparative study on their light-space relationship is important because there are spatial similarities as well as light differences. Most three painters' works depict interior spaces with one person inside. The interior space is filled with different light and shadow. In the Rembrandt's paintings, only part of the figure is lit in the ambiguous darkness. In the Vermeer's paintings, the soft indirect light is filled in the domestic space and the boundary between the figure and space is blurred. In the Hopper's paintings, the direct sunlight invades the interior and the figure confronts with strong daylight. These light differences were caused by the artists' intentions as well as the environmental situations. 4 case paintings of each artist were analyzed by phenomenological aspects and computerized light brightness test. Scale models were built to re-construct the three different light characteristics. The model experimentation will have potential to develop 2 dimensional art analysis into 3 dimensional space design by means of light. However it was very difficult to construct the three lights, the experimentation shows they have unique characteristics that can be applied to spatial design studies.

• 패션비즈니스
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• 제10권6호
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• pp.110-121
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• 2006

The purpose of this study is to analyze the various types and areas of recent collaborations in fashion industry and to find the utility value of collaboration. Seventy seven cases of fashion collaboration marketing strategies were selected from officially announced literature survey and enterprises information around the world. Among the seventy seven cases of fashion collaboration surveyed in this study, collaboration with other fields made up 59.7 percent, collaboration between the same fashion categories made up 40.3 percent. Among the areas of other fields, collaboration with IT(Information Technology) or Motor enterprises were included and made up 36.4 percent. Collaborations with Culture and art world that fashion brands collaborate with world-renowned industrial designer or artist and star entertainers were also included and made up 23.3 percent. Among the areas of the same categories, collaboration of fashion designer and sports or casual brand made up 22.1 percent. Collaborations of home shopping mall and fashion designer made up 18.2 percent. Collaboration cases surveyed in this study were classified according to three types; co-product development, co-branding, and co-marketing. Collaboration for co-product development made up 72.7 percent. Collaboration for co-branding made up 27.3 percent. Collaboration for co-marketing made up 37.7 percent. These collaboration marketing strategies are very efficient to upgrade brand image and cut the marketing cost by creating new target, product, brand, and promotion through successful partnerships. Therefore, much more various types and areas of fashion collaborations should be developed to create something new for future consumers.

• 패션비즈니스
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• 제19권2호
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• pp.136-148
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• 2015

The purpose of this thesis is to study multi-view fashion design with an analysis of multi-view art's formation and philosophical perspective. The production of unique artwork is dependent on how we see, think and represent what is around us. Multi-view art has great potential as a concept related to the continuity of time and space, it is not limited to space and time but it extends to infinitely, according to the artist's will and imagination. The study of time and space has been used as principles for deriving the formative of multi-view art, and the principles applied for analyzing multi-view fashion design. And the formation of multi-view art is reflected in fashion design. Simultaneity, deconstructivity, continuity and virtuality in terms of multi-view art are support the formation of multi-view fashion design, such as fabrication, expandability, concealment and transparency. As such, it is important to study multi-view fashion design as a creative design method with immense potential for further development.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2010년도 추계학술대회
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• pp.345-348
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• 2010

미디어는 일상생활의 활력소 역할 뿐만 아니라 사람들의 스트레스를 해소시키는 하나의 문화콘텐츠로 자리 잡았다. 그리고 암울했던 역사적 배경 속에 탄생한 예술작품들 중 퍼포먼스는 시대적 상황에서 벗어나고자 했던 예술가들의 몸부림 속에서 탄생하였다. 퍼포먼스는 시 공간의 제약을 탈피하기 위해 다수의 작품을 영상을 접목시켰다. 미디어 퍼포먼스는 IT 기술뿐만 아니라 예술적 감각과 퍼포먼스가 더해지는 융합예술의 한 분야로 자리매김 하였다. 본 논문에서는 영상매체의 다양한 효과를 분석하고, 미디어 퍼포먼스에서 어떠한 영상이 더 효과적인지에 대하여 고찰하였다.

• 한국의류학회지
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• 제45권4호
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• 패션비즈니스
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• 제25권6호
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• pp.70-80
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• 2021

The purpose of this study is to compare and analyze the identities and roles so that they can grasp their social roles and directions. Artists show a change in identity from the deification of modern artists with freedom and genius to artists who challenge the cognitive aspect of art and redefine the scope and concept of artists by expanding their social role. Artists dreaming of an ideal art utopia, in which art, society, politics, and daily life are coordinated, are constantly presenting the social role and direction of art through the combination and challenge of new ways of art and craft, beauty and function, creative imagination, and public service. Fashion designers act as contemporary genius artists, creators who express the appearance of the times, practitioners who advocate social values and changes, members of business in the fashion system, celebrities who are spotlighted by the public at the center of the fashion industry, or fashion influencers. Thus, fashion designers are complex or selective in their role depending on the fashion philosophy of individual designers or location given within the fashion system. They are becoming the subject of creating the culture of the times by expressing social ideology or playing a role in practicing art in life that leads social culture so as to raise the value of fashion in their development and satisfy cultural enjoyment of fashion consumers who consume art in everyday life.