• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.196-207
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• 2014

This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.

• Journal of the Korea Furniture Society
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• v.13 no.1
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• pp.49-59
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• 2002

The studio furniture movement that expanded in the United States after the Second World War was truly American creation representing highly sophisticated individualism versus industrial anonymity. The studio furniture movement can be traced back to the 1930s in terms of its influences and emergences. Based on the ideals of Arts and Crafts movements from the earlier decades, studio furniture movement emerged in the 1950s in reaction to Bauhaus inspired industrially produced furniture. Studio furniture has represented an alternative for people who wanted individual objects in their homes rather than industrially produced products. Opposed to plastics and industrial materials, artists in studio furniture mainly focused on one natural material, emphasizing its singular beauty. There were significant roles and influences of craft education along with Scandinavian influences in terms of spreading out the movement. A historical examination of furniture from the 1930s until the 1960s illustrates how this significant movement began in the mid-century.

• Journal of the Korea Furniture Society
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• v.14 no.1
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• pp.59-69
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• 2003

When harmonized with modem design, the Korean traditional lacquered woodenware with a history of about two thousand years has the potential to appeal to the global sense of industrial craftsmanship as it is superior to any in terms of material used and is very friendly environmentally. To maximize this potential, however, it is necessary to develop a firm infrastructure for the supply of lacquer, including the forestation for the lacquer wood, the production of lacquer, the improvement of refining skills, and the development of better paints. Also ways must be found to induce the craftsmanship at the turning lathe to be elevated to a major independent industrial craft. Only then the mass-produced lacquered woodenware for everyday use and as tourist goods, showing the best merits of the Korean lathing technique, will be displayed and accepted with a new appreciation.

• Structural Engineering and Mechanics
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• v.9 no.4
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• pp.339-347
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• 2000

The creep deformation of pure bending (hold constant moment for a period of time) tests were conducted in this paper. Thin-walled tubes of 304 stainless steel were used in this investigation. The curvature-ovalization measurement apparatus, designed by Pan et al. (1998), was used for conducting the present experiments. It has been found that as soon as the creep deformation is started, the magnitudes of the tube curvature and ovalization of tube cross-section quickly increase. The magnitudes of the creep curvature and ovalization of tube cross-section increase fast with a higher hold moment than that with a lower one. Owing to the continuously increasing curvature during the creep deformation, the tube specimen buckles eventually.

• Journal of Digital Convergence
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• v.12 no.3
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• pp.377-382
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• 2014

Culture of Latin cultura culture derived from a translation of the original meaning of words was farming and cultivation, culture, art and later became the will of. British anthropologist E. B. Tyler book "primitive cultures, Primitive Culture" (1871) Culture in the "knowledge. Beliefs Arts. Morality. Law. Practices, including as a member of human society acquired the totality of skills or habits," he gave the definition. Culture can be seen in the human reason, of the form of action, not genetic thing by playing by learning to learn from the community and received the whole thing says. Thus, the prevalence of active cultural power of vigorous training is possible can. In this sense, our ceramic culture also reaffirming the importance of education and the reorganization is needed. Culture and what it takes to become a force larger than the act of teaching. Who supply the consumer with the culture and the sharing of feelings that can be read properly considering the skater to the consumer unless the formation of culture is impossible. In this regard, this study realized the importance of education and culture, as the current situation in our country and the activation of ceramic craft education is to provide.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.3
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• pp.371-381
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• 2017

This paper presents a methodology for creating abstract animation based on the human movement theories originating from the work of dance theorist Rudolf von Laban. Laban Movement Analysis is a method and language for describing, visualizing, interpreting and documenting all varieties of human movement, and Choreutics is based on universal patterns of nature and of human as part of a universal design. Laban defines the space of movements in a profoundly dualistic way. Outwardly, his objective and scientific definitions provide a concrete base for generating human movements in computer graphics in terms of geometric and motion primitives such as points, lines, planes, polygons, linear and nonlinear movements. On the other hand, he also offers a system for understanding the subtle characteristics about the way a movement is dynamically done with respect to inner intention. Laban's interpretations of human motion can be utilized potentially in plastic arts and computer arts. Our work was inspired by those physical and psychological analyses and computer algorithms have been developed for creating abstract animation. We presented our computer animation works entitled "Choreography" in the exhibitions: a special section in "2015 Craft Trend Fair" and "Make Your Movement" held in the Korean Cultural Centre in UK, 2016. In this paper, we describe our ideas and methods for creating abstract object movements based on the Laban's motion representations.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Journal of The Korean Association of Information Education
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• v.20 no.4
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• pp.409-420
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• 2016

In the digital age, children can express their ideas in both physical and digital environments. Electronic textile or e-textiles with Lilypad Arduino provides children with opportunities to explore design ideas and to realize their imagination into physical artefacts. This study aims to analyze the nature of activities and perceptions among 16 children in fifth and sixth grade in a primary school in Seoul who participated in the 12-week e-textile project. To this end, two teachers who taught the class evaluated student-created artefacts from technical, critical, creative and ethical perspectives, and interviewed seven students to extract concrete experiences. The contribution of this study is that it offers a case study of how e-textile programs integrating arts and technology can be implemented in primary school settings and provides implications for future research directions.

• Journal of the Korea Convergence Society
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• v.12 no.1
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• pp.225-230
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• 2021

As the quality of our life has improved, residential complexes have become more diverse now. Modern residential complexes function as a place for meeting and communication between families and neighbors, including parks, lakes, and promenades, and exhibiting sculptures in residential spaces has become an important component. This study was conducted for the purpose of researching the design development method for the sculptures displayed in the residential space in accordance with these changes and demands of the era. Through the process of visualizing the figurative arts with metal and stone used as materials, the artist's thoughts and messages were put in the sculpture and the arts were completed as the shape of the sculpture that viewers could sympathize with. This design and formative research shows the possibility that various visual elements for sympathy with the creator's thoughts can be formed in a place with the specificity of living space by using a figurative visualization method. Therefore, further researches on figurative art of sculptures are required.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..