• Architectural research
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• v.24 no.4
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• pp.93-103
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• 2022

In contemporary housing design, this cultural value has been ignored. Contemporary design has adapted quickly to global trends and houses have gradually lost their cultural identity (GhaffarianHoseini & Dahlan, 2012; Lim, 2001). Nevertheless, traditional housing culture persists in people's behavior and thoughts. Therefore, there is currently a pressing need to rebuild cultural identity in housing for cultural sustainability. This study aimed to analyze the traditional culture which was maintained, then transformed and disappeared in housing design through the quantitative survey and explore the cultural identity of Malaysian housing as a result. A quantitative survey was distributed to mothers of 129 married households living in a metropolitan area of Kuala Lumpur in August 2019. As a result, it was found that hosting guest was important even though the designated space (serambi) was disappeared. The LD/K layout, separating kitchen from living and dining area was philosophical and practical culture, still strong among older generation, but weakened among younger generation. To accommodate the traditional habit of diverse household work, wet kitchen, utility space for washing machine & drying, and outdoor space were needed to design carefully. When applied to future housing design, the findings will contribute to enhancing quality of life by strengthening residents' sense of place and social cohesion and by providing a culturally inherent design that eases the effects of globalization.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.232-243
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• 2023

The boundaries between fashion and contemporary art are increasingly blurred showing their interchangeability. This study examines Judith Butler and Athena Athanasiou's concept of dispossession to analyze expressions of gender, racial, and class identity in Martine Gutierrez's representative work, Indigenous Woman. First, gender expressions in Indigenous Woman emphasize the possibility of performative and practical gender as an image that rejects norms that grant authority according to the possession of innate body parts. Second, racial identity is expressed through resistance to the ideology of whiteness and imperialism reinforced by fashion media. The author aims to overcome normative stereotypes through the media she creates, which reveals her identity as a person of color. Third, class identity is represented through stereotypes that limit the lives of indigenous people to primitive and natural things. The author reveals a critical awareness of the hierarchical structure and cultural appropriation these stereotypes have created. This study analyzed contemporary artworks using fashion media through the concept of dispossession. The significance of this study lies in raising a critical awareness of the practices that diffuse minority identities in fashion media.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.2
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• pp.121-142
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• 2024

What should death be like for a deeply venerated or highly prominent Buddhist monastic? This question itself does not just pertain to death rituals, funerals, or cremations but also to the entire process, as understood within the tradition, of leaving this realm and entering into another. It is in all of these aspects that something exceptional should be highlighted to exemplify accomplishments of the given individual's religious life, and draw attention to the profound spiritual attainment of that figure that devotees believe lies beyond what is achievable by ordinary humans. The recent death of Venerable Hsing Yun, the founder of Fo Guang Shan, led to plentiful discussions in Taiwanese society from people of all walks of life, spanning scholars to media and citizens. This study will reveal the peculiarities of this interesting case, mainly as it relates to the late master's mortuary rites. In doing so, other monastics who passed away in contemporary times will be brought up for comparison. In addition to its notable innovations and creativity, the focal case of the mortuary rites for Hsing Yun manifests the tension between traditional and modern Buddhist ideologies and practices; especially as these tensions unfold within the Humanistic Buddhist context.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.79-94
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• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.140-147
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• 2010

The objectives of this study are, first to define the concept of restaurant total coordination and establish its components as a design strategy for planning and managing all elements comprising a restaurant, and second, to survey the total coordination of Japanese restaurants in foreign countries and examine how traditionality, which is an element for globalizing Japanese restaurants, is expressed. This study was conducted through literature review for defining the concept of restaurant total coordination and extracting its components and a field survey for analyzing the current state of restaurant total coordination and traditionality expression methods. The results of this study are as follows. First, Japanese restaurants categorized into Type A with relatively high traditionality expression(3.3 or higher) were 25% of the surveyed restaurants. These restaurants showed the traditional characteristics of Japanese style as they are without contemporary adaptation for all components of restaurant. Second, 41.7% of the restaurants were categorized into Type B with traditionality expression between 1.7 and 3.3. They were mostly popular casual restaurants at which people can enjoy Japanese food comfortably. In visual and spatial design elements, traditional and contemporary styles appeared in the equal percentage, and decoration, table setting and food design were styled according to Japanese traditions. Third, 4 cases(33.3%) were categorized into Type C with traditionality expression below 1.7. Because they were fine dining restaurants that sold high priced dishes, formality and consistency were also high. Through all design elements including visual, spatial, table setting and food design elements, elegant and simple contemporary images were dominant. The results of this study will be used as basic materials to establish the concept of total coordination that views the visual, spatial, table setting and food design elements comprising a restaurant, which were approached separately in previous studies on restaurants, together from the viewpoint of integrative deigns, and to make design strategies for globalizing Korean restaurants based on Japanese restaurant cases.

• Journal of the Korean Society of Costume
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• v.19
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• pp.29-40
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• 1992

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil's eye. and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories: form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion ; form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active, As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one's own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.

• The Journal of Korean Philosophical History
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• no.58
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• pp.65-96
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• 2018

Modern and contemporary humanities and social sciences supported the freedom and abundance of people. Today, however, freedom and abundance do not support human dignity, and are not sustainable. Therefore, we must reflect again on the direction of today's life and civilization. As part of this project, this essay analyzes the modern and contemporary humanities and social sciences and examines the meaning of Korean traditional thoughts. The lines presented to us by Korean traditional thought can be summed up 'the Three Elements of the Universe(Heaven, Earth and Man)' and 'Perfect Harmony between the Soul and the Body' and 'true humanitarianism.' These lines can be a starting point to overcome the problems posed by the lines of freedom and abundance in two contexts : First, while the lines of freedom and abundance today were biased toward the elements of the Earth or the Body, the traditional Korean thoughts have been both elements of the Heaven and the Soul since the beginning, which can therefore serve as a true humanitarian. Second, the true humanitarian line is as much sustainable as it criticizes the uncontrolled freedom and abundance, and seeks the right moderation to become a man of dignity.

• Journal of International Area Studies (JIAS)
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• v.12 no.4
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• pp.23-65
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• 2009

This study originates from the examination of both Soviet Russia's and contemporary Russia's tabula rasa that numerous comprehensive national exertions have been trying to overcome, relying on the creation of numerous national emblems, political symbols, and even folkloric materials. With this mind, this work substantiates how the political and cultural symbols have been created in the contemporary socio-political and socio-cultural discourse in Russia. As with the political symbols that most recently been studied by Lee Trepanier, it must be recognized that contemporary social movements and political discourses have failed to "articulate a concrete political vision that reflects a consensus among elites, nor have any gained popular support" as the author confessed already. Concomitant to this general consensus, as Roy Medvedev has put it, we can contend that "today's leaders in Russia have no new ideology, and the mass of the people have no strong new national idea."