• Korean Architects
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• s.520
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• pp.16-17
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• 2012

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2019.03a
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• pp.79-80
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• 2019

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.170-181
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• 1999

The purpose of this study is to suggest the possibility of futurism as original design pursuing newness in approaching 21C by studying how futurism having a great effect on fashion as innovatory ideology in early 20C did became paradigm in 20C fashion and the common peculiarity of the dress and its ornaments in this time before 21C. The Space Age Fashion and Techno-Cyber Fashion are representative futurism fashion of 20C. The common inner inclination in both Space Age Fashion and Techno-Cyber fashion are ; First, a future-oriented character. Second, a surrealism character, Third, an anti-cultural character. The greatest peculiarity in the common outer shape in both Space Age Fashion and Techno-Cyber Fashion is material. First, a innovatory choice. Second, an active motion. Third, a diverse effects. Future dress and its ornaments of 21C may be changed greatly by the development of technique, and this fact supports the forecast that the change of paradigm resulted from the development of science may have an effect on future dress and its ornaments as well as modern one. The paradigm change of futurism fashion would be continued, and its influence would work as main source shaping the form of design in 21C.

• Journal of the HCI Society of Korea
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• v.12 no.4
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• pp.17-25
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• 2017

From the vehicle-human interaction perspective, this study investigated the effect of experiential marketing paradigm which considers user experience as main value. We conducted an experiment to compare traditional marketing and experience marketing messages with the smart cruise control and the smart trunk in the context of driving and non-driving context. As a result of the analysis, experience marketing message had higher overall satisfaction than traditional message exposure. Usefulness, usability, and emotion were partially influenced by experience marketing message. The contribution of this study is that the experiential marketing paradigm was applied to automobile UX and practically demonstrated the value of experience design of smart automobile system.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.150-155
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• 2003

Modern house degraded by object of possession by industry and capitalistic development, and it is losing genuine meaning as order system to secure perpetuity of dwelling. Paradigm of space embodiment need first of all laying stress on human's life to overcome such modem dwelling crisis. In modern age Europe, Adolf Loos tried to embody residing space of human center within modernistic developing of technology, urbanization etc.. For such reason, Raumplan is worth reviewing. By treatise that research about Raumplan is many already presentation of the results of ones study do. But most discussions were limited by opinion which is 'Three-dimensional space plan techniques' that give attention to in physical characteristics of Raumplan, and by opinion which is 'Adolf Loos' criticism about culture with outside society. We reconsidered Raumplan in side of general paradigm of residing space embodiment that started from relevant resident's life in treatise that see as such reason. As a result, we knew that is near in residing space original target that Raumplan wishes to embody human's life to space, and this nowaday suitable candidate for marriage as excellent thanks for residing crisis conquest of done situation quote may.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.191-201
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• 2017

In the 21st century, modern society is rapidly changing paradigm of environment with advancement of advanced technology and improving income levels. Such a paradigm reflected in modern design and emerged as a new spatial aspect through various cultural and artistic expressions, thus becoming a crucial role in commercial space. Reflecting on this phenomenon, fashion brands have expanded the concept of a variety of cultural, artistic, and experience cultures with a variety of cultural and artistic sectors in each of the world's major cities. The fashion companies began to focus on fashion programs featuring "Funology" as the fun which creates a sense of curiosity rather than a meaningless space and a fun experience. Therefore, this study analyzes the spatial characteristics of fashion flagship store sites using characteristics of fashion flagship store presented in the expressions of fashion, and analyzes the spatial characteristics of the fashion flagship store based on the spatial characteristics derived from the spatial characteristics of the fashion scene. Based on these results, we confirm the relationship between the Fashion Flagship and the Funology. Design Aspects of the Fashion Flagship Store with Elements of Fun and We expect continuous research as a strategic factor that provides limitless ideas for many design and creative activities.

• International Journal of Computer Science & Network Security
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• v.21 no.9
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• pp.118-124
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• 2021

The article examines the formation of a competitive paradigm of economic security of industrial enterprises in the formation of a circular economy. The basic laws of industrial enterprises are formed, which determined the characteristics of competitive positions and threats. The basic competitive concepts and their application at maintenance of economic safety of the industrial enterprises in the conditions of formation of circular economy are described. Thus, the technological approach to the formation of a competitive paradigm is based on production technologies, opportunities for technological modernization and development of infrastructure and intellectual competencies. The institutional concept reveals the regulatory mechanisms for ensuring competitiveness through the protectionism of national industrial enterprises, standardization and regulation of market imbalances. The innovation-investment approach within the competitive paradigm is also manifested in the creation of competitive advantages due to the presence of active innovative developments and their commercialization, knowledge and competencies of staff, capitalization of intelligence and communications, constant updating of infrastructure and technologies. Collectively, innovation and investment effects on the level of economic security allow industrial enterprises to ensure resilience to increasing competition, the emergence of new market challenges in the formation of a circular economy. A strategic approach to the application of a competitive paradigm to ensure the economic security of industrial enterprises allows you to justify the prospects for development and design behavioral models to predict and assess potential threats. The concept of system management is based on the complexity of threat analysis, the integrity of the economic security system, system-forming functions and patterns of implementation of industrial development tasks in the formation of a circular economy. The application of the described concepts is formalized by the authors through the definition of the basic patterns, directions and characteristics of their impact on the elements of the security system of industrial enterprises in the formation of a circular economy.

• International Journal of Internet, Broadcasting and Communication
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• v.4 no.1
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• pp.8-12
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• 2012

The purpose of this study is to review the possible effect of the learning paradigm shift from traditional method to ubiquitous learning. What are the societal issues that need to be address in order to design a new pedagogical platform trending from e-learning to m-learning and now the u-learning? That without the proper study of how learning environment may affect the learning process of an individual will lead to poor quality of education. This new era of learning environment offer a big opportunity for "anytime, anywhere" learning. Thus, Lifelong learning is at hand of everyone. Maximizing the benefit of new trend will be a great help and addressing the limitations will lead to quality education.

• Proceedings of the KSRS Conference
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• 2002.10a
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• pp.827-831
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• 2002

MediaGIS is a concept of tightly integrated multimedia with spatial information. VideoGIS is an example of MediaGIS focused on the interaction or interaction of video and spatial information. Our suggested GeoVideo, a new concept of VideoGIS has its key feature in interactiveness. In GeoVideo, the geographic tasks such as browsing, searching, querying, spatial analysis can be performed based on video itself. GeoVideo can have the meaning of paradigm shift from artificial, static, abstracted and graphical paradigm to natural, dynamic, real, and image-based paradigm. We discuss about the integration of video and geography and also suggest the GeoVideo system design. Several considerations on expanding the functionalities of GeoVideo are explained for the future works.