• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.22 no.1
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• pp.124-131
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• 2008

Recently underground electrical power distribution is increased because people attach importance to aesthetics of the downtown areas. Lew-voltage handhole of underground distribution line for joint and branch point is mainly installed at the sidewalk. So, pedestrian can get a electric shock if fault is occurred in the low-voltage handhole. Furthermore the street was flooded by recently an unusual change in the weather. Fault is occurred in the low-voltage handhole that may create a shock hazard for the human body because a person's body resistance lower due to effect of water. This paper analyses causes of electric shock accidents and check results at the low-voltage handhole. At a result of analysis, the causes of electric shock accidents in domestic and foreign low-voltage handhole are same but environmental conditions of low-voltage handhole are different In the future, the analytical data can be applied to prevent the electric shock at the low-voltage handhole, and can be used to basic data for the improving installment of low-voltage handhole.

• The Journal of Natural Sciences
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• v.7
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• pp.121-131
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• 1995

Orientalism showed in early 20th century as change of Style. Modern characteristics is understanded through big stream of change before historical conception. Change of style in West began by artist having oriental and exotic taste. These are mimesis of outershape about Japanese, Moroco, north Africa etc. Theses are called chinoiserie & turquise taste. Stream of 20th century style is continued expressionism. Cubism, Sur realism, Pop Art etc. but in my thesis orientalism is caused change of 20th Century after exotism (after showed as Primitivism ). In modern costume, concerned works of Paul Poiret changed body concious. He's a image creator as Yve St. Laurent, Chanel, Balenciaga. At that time Russia Ballet, Fauvist, vivid colors are back ground of series of modern costume. Soft and sleek body, transparent stocking, minaret tunic, turban is begin of oriental image. Modern costume and modern art are begins as change of aesthetic taste before historical conception.

• Journal of the Korea Society of Computer and Information
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• v.23 no.9
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• pp.87-96
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• 2018

The purpose of this study was to identify the preferred materials and design characteristics of nursing home clothes in order to collect the basic data necessary for the elderly nursing home clothes. It was to utilize the elderly nursing home clothes considering elderly body shape, hand function, illness. This study was conducted by questionnaire method and SPSS ver. 20.0 program was used. The preference for nursing home clothes material was high for cotton, and it was found that they prefer soft, stretch material, warm feeling material, and lightweight material. In the hygienic aspect, they favored sweat-absorbent materials, and preferred laundry- care-resistant materials with poor wrinkles and dirtiness. The nursing home clothes preferred a two piece form consisting of a round neckline, two pockets on both sides, a waistband of rubber band, long lengths, and a waistline pants. The most important function in the nursing home clothes was recognized as wearing comfort. Aesthetics, symbolism, color and print pattern were recognized as not important functions. Therefore, it is necessary to focus on the functional part such as wearing comfort in the design of the nursing home clothes. The material is also hygienic and comfortable to wear. In the case of the elderly, it is necessary to provide convenience for the wear of clothes through the development of stretchable material and detachment device since the movement range of muscles, arms, and legs is reduced. Based on this study, we will utilize it for the development of nursing home suit considering the characteristics of elderly person in the elderly society. It is to develop functional materials for the elderly in need of nursing home, to develop the pattern considering the elderly body shape, and to develop the desorption device considering the movement of the hand.

• Korea Science and Art Forum
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• v.34
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• pp.251-262
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• 2018

The purpose of this study is to understand how wearable computing devices are designed and how to design them in a technology based wearable device design research. Research is premised on the consideration of producers and consumers. There is wearable computer of eyeglasses, watches, clothes, and so on. The user can always wear these products comfort and use as part of the body without any sense of discomfort, and the goal is to supplement or double the ability of the human being. It should be easy to use them convenient, wear comfortable, safe and sociable at any time. For the satisfaction these conditions, the wearable computing devices have several factors. There are technical performances, visual aesthetics, Human body system and devices communication and safety. Furthermore, these factors have to match to operating system, real-time operating system and applied software. To comprehend wearable computing devices should be offered the design of the both software and hardware designed.

• Journal of Fashion Business
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• v.27 no.6
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• pp.124-146
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• 2023

This study analyzes the characteristics of each element of neo-deconstructivist fashion design and examines fashion expression methods and techniques. This study combines theoretical research and case analysis to analyze the aesthetic characteristics of neo-deconstructivist fashion and the expressive characteristics of neo-deconstructivist fashion. Through analysis of previous research, the aesthetic characteristics of neo-deconstructivism were derived as inclusiveness, playfulness, communication, and intertextuality. Inclusivity in fashion refers to including various people, body types, aesthetics, and cultural backgrounds in the scope of design, and does not limit the scope of clothing design based on individual differences such as body type or gender. Playfulness is a neo-deconstructive fashion brand that combines exaggerated makeup, vibrant colors, intriguing designs, and imaginative fashion shows to spread upbeat and playful ideas. Communication in neo-deconstructivist fashion demonstrates communication through the use of creative themes and items that reflect consumers' needs through design and the consumer's fashion presentation method. Through the mutual quotation of aspects like traits, status, T.P.O., and materials that can reveal opposing texts, intertextuality emerged as a tendency to break up binary oppositions or break away from genres. The expressive qualities of neo-deconstructivist fashion design were examined and applied to the creation of innovative fashion design through examination of the case's silhouette, color, and material. Six sets of women's clothing were designed and produced. The results of this study can be used as basic data for the development of neo-deconstructivist fashion design, and are expected to provide a wide range of inspiration for fashion design ideas.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.821-832
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• 2002

The purpose of this study was to develop grading method of the basic brassiere patterns therewith, provide for 12 size's brassiere patterns and prove fitness of their's and shape. The collected data were statistically processed using the SAS 6.12 for Means, Standard Deviation, etc. The results of this study can be summarized as follows; 1. The basic sizes adopted at the first design stage (see fig.1-2) were 75AA, 75A and 75B each of which was designed as upper foundation basic pattern in reference to the cup size. At the second stage, each of the upper body foundation basic pattern was used to design lower cup, upper up, front panel and wing in their order(see fig.3-6). At the third stage, the other sizes were graded in reference to the three brassiere patterns (75AA, 75A and 75B) to produce 12 brassiere sizes(see Tab. 7-8). In order to develop the basic patterns of adult women's brassieres, 33 women were selected per 11 size combination(3 women per size combination), and then, their brassiere fitting was teated. As a result, the fronts of the basic patterns were found to have such problems as undone front center, poor levelling of upper cup's bottom line or lower cup's top line, poor shape of upper cup's outside top line and shoulder strip position. On the other hand, on the rear side of the basic patterns, the central part of the wing was slightly lifted, while the wing width and straps'interval did not befit the ful1-cup brassiere. The result of this first brassiere fitting test showed that the functionality and aesthetics of the basic pattern brassieres were more or less satisfactory, and thus, the problems were addressed for the second teat. In the second test, the aesthetics, breast-shaping effect and functionality of the basic pattern brassieres were much improved. 2. We were to present the final brassiere sizing system to extend the interior length of breast and the exterior length of breast on the basis of fitting test. Thereby, 75B$.$80A$.$80B$.$85A$.$85B's the interior lengths of breast were enlarged to 0.7cm, the rest size was enlarged to 0.5cm and the exterior length of breast was enlarged to 0.5cm regardless of sizes. 3. The upper foundation basic patterns of 75AA and 75B were presented and and the basic brassiere pattern and grading pattern were presented through to.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.1-18
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• 2012

The purpose of the study was to offer in-depth understanding of the women's wear research trend in South Korea and thus to provide insights from the findings throughout the study to set appropriate directions for further development of women's wear related researches in the clothing and textile study area. The study considered research papers published by the 6 major apparel related journals listed on the KCI(Korea Citation Index) i.e. journals of the Korean Society of Clothing and Textiles(KSCT), the Korean Society of Costume(KSC), the Costume Culture Association (CCA), the Korean Society of Fashion Business(KSFB), the Korean Home Economics Association (KHEA) and the Korean Society for Clothing Industry(KSCI). A total of 380 research papers that were related with women's wear published from 2001 to 2010 were selected for the study and analyzed in the form of descriptive statistics using the SPSS Software ver. 18.0. The analysis was categorized according to the journals, years and research theme. The research themes were divided into various categories such as, clothing construction, textile science, fashion aesthetics and design, costume history and culture, apparel psychology and fashion marketing. The results derived from the research were: (1) the ratio of the research papers on the women's wear to the total papers published from 2001 to 2010 by the 6 subject journals was 380 to 6,815, i.e. 5.6% of the total papers; (2) journal of KSCT published the most women's wear research papers (N=149, 39.2%) and then the rest in order were the journal of CCA (N=69, 18.2%), the journal of KSC (N=68, 17.9%), the journal of KSFB (N=52, 13.7%), the journal of KHEA (N=39, 10.3%) and the journal of KSCI (N=3, 0.7%); (3) the proportions of the research themes for the women's wear study were in the order of the case study in marketing (N=135, 35.5%), body measurements and sizing systems in clothing construction (N=88, 23.2%), fashion design and aesthetics (N=83, 21.8%), pattern-making (N=63, 16.6%), and color study (N=11, 2.9%) and so on.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1582-1594
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• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.