• Korean Institute of Interior Design Journal
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• v.13 no.2
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• pp.91-99
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• 2004

This study aims to embody material and non-material factors forming space and to explain our experience in space. Space is formed by material factors and their disposition. One space becomes a new space by such factors 'arrangement. Nevertheless, one space is never swayed by material factors and their disposition. Space is a reflection of social relations and historical process, and is also affected by its users. Space can not neutrally exist, for it compels its users to keep a specific life style. Space users have experience in space by practice. Practice enables its users to experience various relationships space makes, and as well it allows them to have creative experience in space by twisting them and inducing a new relationship.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.3-10
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• 2000

In a word, Behnischs architecture can be said to be the architecture of humanism based on an interpretation of the human being. The architecture of Behnisch in which it is not space but people that becomes the subject in architecture is newness or novelty, which is proceeding to position itself as one architectural style representing the times. He refrain from the environment that is defensive and oppressive, and destructive and disruptive in composing his architecture and instead is directed towards the continuos, creative and open environment. With such an architectural language, he is pursuing a minimum of the best rather than quantity based on trust and respecting for man and nature as his unchanged theme. That is, he is seeking for the purpose of architecture that does not disregard individuality such as consumers wants and needs. As can be seen from it, his architectural work has aroused freshness and stimulus to the architectural environment that can not be boring, allowed us to look back on the architectural world and triggered our interest. His architecture has the human energy that moves us.

• Journal of Fashion Business
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• v.11 no.1
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• pp.26-37
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• 2007

Madeleine Vionnet(1876$\sim$1975, France),the most prominent figure of the 20th century draping, started her apprentice in France in 1888 and expressed feminity of adult products through her various works until she closed the house in 1940. The feminine designs of the adult style appeared in 1930s, whose characteristics were silhouette and details that emphasize the body, and bias designs. Not only Vionnet, but also Chanel and Schiaparelli were the representative female designers at that time. The preliminary researches of Vionnet designs were mostly focused on her cutting methods. This paper purports to examine Vionnet's bias cutting method, to compare Vionnet with female designers of Chanel and Schiaparelli who led the mode of 1930s with feminine designs for the adult products in that period, and then to attempt creative designs by use of bias cutting.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.136-145
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• 2009

Growing needs of reducing energy consumption and enhancing creative thinking brought expanding of men's business wear market into more trendy and casual sector. As fashion trend of men's business wear has changes to casual jackets, there is need to study for the inner structure of casual jacket. The inner structure of casual jackets are different from conventional tailored jackets so that they can provide more comforts, functionality and characteristic style. The purpose of this study is to find out how the inner structure of casual jackets are made up by comparing jackets of various brands. In order to categorize the construction methods, where, how and what kind of lining, interlining, sleeve heads and shoulder pads are applied were studied. Although there are considerable varieties in making up methods, it could be concluded that casual jackets have lighter and less time and labour consuming inner structure, i.e. partial linings, fusible inter-linings, ready made sleeve heads and shoulder pads.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.87-95
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• 2014

Since 1990s the concern on essence and inside has transferred onto the surface and its style. The longing for plastic surgery and skin beauty might prove this fervent tendency. Furthermore the development of digital media and technology as well as high-tech material enabled this hope to be real in the realm of design. All these progresses and transitions toward the surface introduced more creative and novel phenomena of furniture design arena around its surface. The rising of surface has evolved through architecture, interior design and furniture. The surface of furniture can be easily transposed into the human skin. And it acquires the aspects of skin's metaphoric and symbolic meaning. The characteristics of skin effect in furniture design can be summarized as material aspects, relational aspects, and formal aspects. Material aspects shows skin's elasticity and smooth plane. Relational aspects express the reactive functions of skin. Formal aspects represent organic power through surface.

• Proceedings of the KSR Conference
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• 2004.10a
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• pp.1757-1764
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• 2004

It is the urgent task of induce the inhabitants to utilize the public transportation instead of the personal transportation to dissolve the traffic jam. But construction of the subway, the representative substitute means, demands a great of investment expense including various kinds of expenses. So the technical development and research of standardization of FRT(Fuel cell Rubber tired Train), the eco-friendly public transportation system low in construction expenses, effective, excellent in approach as well as in traffic, are propelled positively. This project wants to propose exterior design FRT in which original creative methods are utilized with the target of development and construction of FRT which coincide with anthropocentric eco-friendly traffic system. Utilizing the proposed style as the basic materials, this project wants to grasp difficulties, and to establish the way to solve and develop them.

• Journal of the Korean Institute of Rural Architecture
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• v.2 no.3
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• pp.25-36
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• 2000

The purpose of this study is to understand and explain the traditional housing-culture in South East Asia, focused on the traditional Malay houses. The research objectives are : 1) to obtain informations related to the traditional Malay houses in West Malaysia. 2) to survey the traditional Malay houses in the selected area. 3) to understand their characteristics. It is expected that the traditional Malay houses were a major focal point of traditional Malay village society. The Malay houses provided the basic needs of shelter to the villagers. They were designed and built by villagers themselves, thus, manifestation of the creative and aesthetic skills of the community. Further, these houses reflect those factors including climate, geographical features, history of the region.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.136-161
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• 2000

This paper is a study on the design of the gilt-bronze sarira caskets discovered in 1959 and 1996, from a east and a west three-story stone pagodas in Gameunsa Temple site which was built in 682. One of the most interesting discoveries is the ceiling with Bokdu(覆斗) design which can be seen in Dun-Huang grotto of China, reflected upon the ceiling structure of the cover (outer casket) and the square box (inner casket). The structure of these sarira caskets, as art crafts, directly represents architectural structure of Dun-Huang grotto that was made during the early T'ang period of China. Moreover, the sarira caskets are decorated with ornate designs and these designs also can be seen on the murals of Dun-Huang grotto. Accordingly, those sarira caskets tell us creative ability and international taste of Silla's craftsmen. By tracing the origin of structure and design pattern of the sarira caskets to Central Asian and Chinese architectures, it is able to understand international style of the sarira caskets of Gameunsa Temple site.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.198-203
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• 2023

Art grows with the development of human civilization. Many art forms exist to connect the past and the future. Oil painting, a form of western painting, has flourished in China since its entry into China. In the continuous exploration of artistic language, Chinese artists have formed art forms with Chinese characteristics, permeated Chinese painting ideas and techniques, and formed specialized painting language. Through the oil painting works, the Chinese oriental aesthetic, national spirit, local customs and other times of humanistic features. As one of the many practitioners of oil painting in China, the author starts from the ego and continuously explores and studies in the practice of art. This paper mainly discusses the embodiment of Chinese oil painting modernity in the oriental art context and analyzes the spiritual temperament and painting materials, so as to expand the creative thinking of Chinese oil painting modernity in the oriental art context.

• Science of Emotion and Sensibility
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• v.25 no.4
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• pp.3-20
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• 2022

The origins of the world-recognized Korean gat can be traced back to Gojoseon, and the jades for the sangtu and gwanja come from Hongshan culture. This study examines the etymology of the hat, the symbolism of the gat and the jade comb, and the history of the development of the accessories for the hat. The research methods of literature review, investigation of relics and murals, and analysis of cases of pronunciation changes were used. Most of the relics excavated from the Hongshan are identical to those excavated from Korea. The Byun-Khan people wore a triangle-shaped conical hat (the byun), which was shaped to fit the protruding sangtu hairstyle, with a foldable brim that, if pulled downward, changed the hat to a gat. The Chu sangtu, a pointed top-knot hairstyle, is uniquely found among Northeast Asian peoples, and it is an ethnic symbol for Koreans. Until the modern period, many Koreans wore their hair in the sangtu style, indicating their descent from the sky. Jade combs shaped like birds and clouds from the Hongshan period emphasized the religious nature and ceremony of hair styling at that period. The word hat is widely used to refer to gat all over the world. The pronunciation of ㄱg, ㅎh. and ㅋq/kh are closely related to each other, and the ancient pronunciation ㄱg gradually evolved to ㅎh or ㅋq/kh. The English 'Hat' and Korean 'Gat' were transformed from the middle-ancient sound 'gasa > gosa > got' of the crown 'gwan, gokkal'. This creative hair style culture that started from the Hongshan culture continued to be fashionable during the Gojoseon Dangun period, and the decoration techniques for hats and accessories were inherited over time and continuously developed. Along with the method of making gat, creative hair-related parts, such as manggeons, donggot pins, gwanja buttons, and fine combs were developed over the course of a thousand years.