• 한국주거학회논문집
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• 제14권1호
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• pp.29-40
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• 2003

The purpose of this research is to document and analyse spatial transformation of an unauthorized dwelling units on a peculiar site of Seoul. It's physically attached to the behind part of the west boundary wall of Chang-Duk Palace. These dwelling units took not only the site, the narrow street which had been a stream, but also the two parallel walls of others for their home. The two walls, one from the palace wall and the other from the wall of a house which distanced itself from the palace wall about 3.5 m for the reason of the Cultural Properties Protection Law, have been held as the main structural members in forming the shelter. With examining the realm of time which provide the base of the spatial realm, this research shows how the multiple linkages tangled in an illegal shack did gain and actualize an architectural language of idiosyncrasy with spontaneous order inherent in inhabitants.

• 복식
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• 제50권3호
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• pp.133-144
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• 2000

The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.

• 한국가구학회지
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• 제13권1호
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• pp.85-95
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• 2002

Environmental furniture comprises an independent design branch as distinguished from he design of street furniture. Environmental furniture helps people enjoy outdoor relaxation and cultural activities by creating convenient facilities and plays a part as the medium connecting environment and living. As a tool effecting all outdoor living conditions including home and public environment, it helps people lead a convenient and safe outdoor life. It is an important element that contributes to the image of outdoor scenery. Therefore, the design of environmental furniture should : 1)consider environment including 3R(Recycle, Reuse and Reduce) which makes harmony with nature without destroying it. 2)seek qualitative improvement by using environmental friendly materials and continuously developing new materials. 3)be assisted by the administrative support from the government to make the environmental furniture design an integral part of the city plan. The quality of a city environment will be greatly improved when people's interest in and their changed view towards environmental furniture is effected.

• 복식문화연구
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• 제6권3호
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• pp.88-99
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• 1998

Image of Modern Art & Fashion are created on the whole in daily life. Image itself is not simple. There is no more distinction between content & form through mutual crossing for intellectual thinking. Specially, image of reproduction circumstance too many mixtual and compromise (collage) are continued to occur. They could pursuit to change their image through the more increase of impulse, exception and popular experience. In this thesis, I studied about image of Modern fashion & Art. In the modern art, visual image showed as anti-beauty and combination of cultural system. It has shown in the theory of Fred Davis and through fashion brand advertising image as follows; Youth vs maturity (ageless image), male s female and androgynous vs unisexuality (genderless image), colligation vs monopoly (street mode image). As a results, the modern trend image are showing the value of the ambivalence. It can be said that he anti-beauty which are occasionally showed in ambivalence has shown a tendency toward another tradition (feminity) through giving an impulse and paradox.

• 한국조경학회지
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• 제13권1호
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• pp.109-121
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• 1985

A study on the image identification of urban streetscape is valuable for illuminating identity that is not yet fully approached in the field of environmental design. This analysis of urban streetscape for image identification allows us to make a more detailed exploration of an important approaching methods in dealing with the structural characteristics of identity. As a matter of fact, the earlier indirect studies on this image identification were made by environmental designers, such as architectural and urban designer in the field of environmental perception and came to its environmental cognition & environmental pattern research with assistances by such researchers as K. Lynch A. Rapoport & Christopher Alexander. Through its environmental perception research, we can see its structural characteristics that is aesthetic & visual structural contents of physical environmental elements. And we can see its cognitive characteristics through the environmental cognitive research, that is continuity, territoriality, identity of place, uniqueness or individuality, meaning & symbolism. Through its environmental pattern research, we can see its physical, socio - economic, cultural and symbolic pattern identification contents, that is physical form of the city, style of the street, pattern of streetscape, socio- economic & geographical locality, arid life cycle, life style, common style of the behavior, cultural pattern of the activity, socio - cultural expression of the symbol. In these process, we can set up a set of the environmental design criterias from those three integral studies for identity. And for an environmental research, Tongsung-Ro around the CBD (central business district) in Taegu City was selected for a case study, because this streetscape is suitable for that approaching methods in this study.

• 공연문화연구
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• 제18호
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• pp.513-557
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• 2009

고구려 고분벽화에 나타나는 행렬도는 묘 주인의 등급에 따라 인원수와 각종 대열 및 인원 배치가 규정될 정도로 상당한 수준의 체제를 갖추고 있었다. 이러한 가두행렬에 동반되는 연희들은 대부분 산악 백희의 종목들이었다. 특히 안악 3호분의 악대는 고취와 횡취를 갖추고 있어서, 이 행렬의 국제적 교류양상을 살펴볼 수 있다. 또한 호위병, 의장대, 악대, 연희자를 갖춘 고구려의 행렬은 고려와 조선시대의 어가행렬과 일치하므로 그 영향관계를 살펴볼 수 있다. 고려시대의 대표적 가두행렬은 왕의 어가행렬이다. 연등회에서 왕이 봉은사나 흥왕사를 다녀올 때, 왕이 지나는 차도의 좌우에는 등산과 화수를 설치했으며, 그 가두행렬의 규모가 매우 컸고 다채로운 음악과 공연을 연행했다. 나례는 중국에서 생겨난 의식으로 고려시대의 궁중의례에 수용되었다. 고려의 나례에서도 중국과 마찬가지로 가두행렬과 연희를 행했다. 그리고 정초에 풍물패가 행하는 지신밟기도 나례의 유풍이다. 조선전기의 궁중나례에는 방상시 12지신 이외에 판관 조왕신 소매 등 새로운 배역이 등장한다. 그래서 나례가 시대의 변천에 따라 변모하는 모습을 살펴볼 수 있다. 조선시대의 환궁행사에서 왕이 탄 가마는 전후의 고취악대가 행진음악을 연주하고, 산붕이 인도하는 가운데 대궐을 향해 가두행렬을 진행했는데, 이때 각종 연희도 공연되었다. 이 환궁행사는 고려 의종 때의 환궁행사와 매우 유사하다. 조선시대의 삼일유가와 문희연은 양반층의 축제였다. 급제자는 악사와 연희자들을 대동하고 서울 시가를 3일간이나 돌아다니며 가두행렬을 벌이면서, 자기 가문의 경사를 축하하고 가문의 위세를 과시했다. 조선시대의 동제와 읍치제의에서는 사당의 신상이나 신대를 앞세우고 가두행렬을 진행했다. 중국의 마을제사인 영신새회가 후대에는 나례의 연문축역과 융합되었듯이, 한국의 마을제사도 지신밟기와 결합되어 마을의 수호신을 상징하는 신대를 앞세우고 집집마다 찾아다니는 가두행렬이 형성되었다. 수영야류의 가두행렬은 가면극 공연의 홍보 효과가 있었고, 참가자들의 일체감을 조성하면서 축제적 분위기를 한껏 고조시켰다. 북청군 토성리 관원놀이의 중심은 관원의 행차를 모방한 가두행렬이었다. 토성 관원놀이는 인명의 안과와 마을의 오곡 풍성을 기원하는 민속신앙의 기능, 가두행렬과 여러 연희들을 통해 흥과 신명으로 즐기는 오락적 기능, 주민들의 단결과 화합을 조성하는 사회적 기능을 갖고 있었다. 중국과 마찬가지로 한국의 가두행렬은 자생적 가두행렬과 외래 기원의 가두행렬이 있었다. 고구려 고분벽화의 행렬도의 고취와 횡취, 고려시대에 상원이라는 연등회의 시기와 왕이 참석한 가운데 행해지는 교방가무희 및 백희 공연, 동제의 지신밟기 등을 통해서 국제적 교류양상을 살펴볼 수 있다. 그러나 상원연등회는 중국에서 유입되었지만, 왕이 선대 임금들의 초상화를 모신 봉은사에 다녀올 때의 가두행렬과 그 노변에 설치되는 등산과 화수 및 수많은 등은 고려 연등회의 특징이다. 이상의 모든 행사에서 가두행렬은 축제적 분위기를 조성하는 데 큰 몫을 담당했고, 행렬의 중간이나 행렬이 끝난 후 펼쳐지는 전통연희의 공연에서 참가자들이 일체감을 느낄 수 있도록 했다. 가두행렬의 참가자들은 각 행사를 통해 문화적인 긍지와 자부심을 느낄 수 있었고, 자기들의 역량을 과시하고 자랑하는 기회를 가질 수 있었다.

• 한국콘텐츠학회논문지
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• 제17권3호
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• pp.297-304
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• 2017

본 연구는 최근 2년 간 서울특별시 자치구 축제평가와 축제프로그램의 테마 연관도를 알아보기 위하여 상 하위 평가를 받은 각각 2개 축제를 대상으로 전문가 AHP 조사를 통해 축제평가와 축제프로그램의 테마 연관도를 분석하였다. 그 결과, 강동선사문화축제의 원시대탐험 거리퍼레이드, 한성백제문화제의 한성백제체험마을, 이태원 지구촌축제의 지구촌거리퍼레이드, 허준축제의 개막 주제뮤지컬공연의 테마 연관도가 가장 높은 것으로 조사되었고, 이 결과의 의미는 다음과 같다. 각 축제의 대표 프로그램이 선정되었다는 점, 축제테마에 밀접한 프로그램 명칭을 가지고 있다는 점, 방문객들의 직접 참여가 전제가 되는 행렬형 프로그램과 체험형 프로그램이라는 점, 그리고 축제프로그램의 테마 연관도가 높을수록 우수한 축제로 평가받고 있다는 점 등이다. 따라서 축제가 좋은 평가를 받기 위해서는 테마 연관도가 높은 프로그램들은 축제의 대표프로그램으로 집중 육성하고, 테마 연관도가 낮은 프로그램들은 테마 연관도를 높여서 축제의 다양성을 확대하여 축제 테마를 브랜드화하는 전략이 필요하다.

• KIEAE Journal
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• 제13권6호
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• pp.29-37
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• 2013

The modern town houses in Philippines has been changed through Spanish colonization over 300years and American military administration in 20C. Especially Cebu, the first contemporary capital of colonized Philippines by Spain, has various cultural characteristics and historical remains including old houses. By the economy condition in Cebu growing up, Bahay na bato, stone and wood house, has been settled for the elite or middle class of Cebu around 19C influenced by Spanish or Europe and Philippines native house called bahay kubo. Bahay na bato shows a common features, as revealed in this study, which all of them has a two stories with cut stone curtain wall and wooden beam and lintel, fronting the main street by approaching directly from street. And spatial separating also shown by setting living space to upper level instead of using storage or entrance hall called zaguan in lower level. Bahay na bato studied here shows a particular appearances in elevation, having volada and elaborate geometric or floral window pattern, also playing a role for ventilation with vetanilas below volada and main window in section. They have a rectangular plan with caida, sala, comedo, azotea almost similar to Spanish and ealier colonial Mexico style mixed with Philippines traditional style showing the strong spatial separation functionally and space wideness for party occasionally.

• 건축역사연구
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• 제16권4호
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• pp.7-22
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• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.

• 복식
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• 제33권
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• pp.189-199
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• 1997

The following contents are the results from the examination of unisex fetishism minimal and active which are Mods look. Unisex-becasue of the changing in musician and the role of sex Mods girl adopted much from men's clothing. The unisex mods look expressed in the 1990s is not the expression confronting the estab-lished value and the confusion of sex as it did in the '60s but possibly the appearance of a fashion trend. Fetishism-in the '60s the Mods look changed mens clothing into more wonman-like clothing which expressed their internal and external values of thinking. this fetishism phenomenon is also strongly expressed among the in the 1990s. This gives a future-orientid feeling by expressing with a modern sense the 60's fetish dress which used woman-like silhouettes bright and stretch fabric colorful and vivid tone. Minimal-The 60's Mods put on mini skirts called the revolution of length as a mode of re-sistance and mininmal dress as a way of ex-pressing the liberation of body and the con-sciousness of beauty. Minimal is reflected well on slim and fit jackets and pants and short and fit pants etc. mods look in the '90s also consists of the general trend of slim and fit silhouette. Active-Mods that reject the value of estab-lished generation in the 60s showed a sporty and casual trend on fashion. Mods works around clubs wore polo shirts and cadigan and Mods enjoys scooter often wore anorak parkas This active style of Mods approched to the young' casual with freshness expressing newly in the '90s polo shirts took a seat as an item of street fashion especially in the beginning of 1996. Mods in the 1960s shows well a fashion flow of the age as a street fashion which expresses the mental world reflected in politics econo-mics society and culture within the people of the age. These Mods looks revived in the early 1990's awaken an importance of the culture of the young as the cultural qualities included in Mods of the past life and this fashion trend expected to take a part as a symbol of fashion culture.