• The Research Journal of the Costume Culture
• /
• v.15 no.3 s.68
• /
• pp.383-393
• /
• 2007

The purpose of this study is to examine the expressional characteristics of T-shirts design using digital printing. Through digital printing system, a variety of patterns and pictures can be printed on T-shirts in a relatively short time. At this backdrop, the result of this research can aid to develop design of T-shirts with a high value added on it. The result was that the printing methods were categorized into borrowing the pictures of masterpieces, applying photography or caricatures, introducing graffiti or lettering, and representing industrial arts. In conclusion, digital printing system unlike the established printing method can have almost an unlimited range of expressing various kinds of pictures and patterns, so that designers may develop high value-added differentiated T-shirts. In other words, by creating a variety of designs with no limit of its quantity, its expressive range can be more widened and with an increased development of plotting machines, we may manufacture more varied kinds of products in a small quantity at a faster rate.

• Journal of Fashion Business
• /
• v.21 no.2
• /
• pp.1-15
• /
• 2017

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today's fashion can be explained as follows: First, 'virtual reality', which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, 'form transformability', which is often found in fashion products, promotes customers' purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, 'integration of different fields', which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, 'interactive responsiveness', which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.

• Korean Institute of Interior Design Journal
• /
• no.30
• /
• pp.68-77
• /
• 2002

From ancient to modern architecture, the light in the architecture spaces as the only changing factor, was the most important theme contributing vitality to the space and judging its character and expression. The efforts, to acquire both natural-physical light and internally experienced spiritual-supernatural light, had been revealed in several ways of the architecture from the ancient architecture. It was the main issues on the christian architecture. In this study, 1 have intended to determine how the light, the most important factor on the christian architecture symbolizing the blessing of God and forming the pious and restrained spaces has been expressed in the church spaces. For this purpose, I have compared and analysised the examples of the using the light, to the arts of the modern maestros of architecture and newly constructed churches in Korea on the way of light input pattern by the shape of windows. The results from the examples show that the most outstanding point of the modern christian architecture compare to the past, is that the natures of the inputted light has many diversities by the architects. And I reached the fact that the constructers by their own will to acquire the intended light, they are chose progressive light expressing methods through the shape of windows.

• Korean Institute of Interior Design Journal
• /
• v.18 no.6
• /
• pp.142-149
• /
• 2009

User and media are in close coalition with each other in the 21st century's era of New-Media. The new users exposed to the New-Media environment have a complete understanding of the digital media environment, and are also taking on the role of an active identity in the formation of culture in new media. In the field of spatial design, creative spatial interfaces designed through various methods derived from the New-Media environment and technology that weren't even imaginable in the past ultimately came to exist in a mutual relationship with the user, the people. This study is in the same context as studies looking into the establishment of design in media art and digital media space in the New-Media environment. Media art is an outcome arising from the demand towards new art combined with the attempts towards accepting various media as a means for artistic expression. Media art seizes to being a mere part of art, but more. This study aims to look into the theoretical basis of New-Media and define the design process through the expressional characteristics and triggered thoughts thereof. Lastly, the results of the research will be put together to produce the final results. Such analysis process will be the basis of the creation of a new paradigm and spatial thought, and allow people to be concerned about the various changes in spatial formation.

• Korean Institute of Interior Design Journal
• /
• no.5
• /
• pp.59-65
• /
• 1995

This thesis focuses on a study of design science, which is of a disciplinary character. And the purpose of such a study is to suggest a new direction to develop aesthetics through an empirical research into environmental psychol-ogy, human behavior, design thought, and the visual qual-ity of environment. The author of this study, since recognizing the necessi-ty of understanding environmental aesthetics as well as the necessity of aesthetics, has done an elementary study of empirical aesthetes, and then obtained some facts as follows: First, it is possible to analyse the visual characteristics immanent in the interrelations between human and envi-ronment by means of applying both the information the-ory of formal perception and expressional value and the perceptual theory of ecology to environmental aesthetics. Second, formal aesthetics is a science about the form and structure and in the meantime, symbolic aesthetics is a science about the environmental patterns giving pleas-ure to mankind and its associative meanings. Accordingly it is same as providing some aesthetic value to the ob-ject of environment design to apply some empirical data of visual quality to environmental design. Through such a process, users are provided or delivered with diverse, visual effect. In conclusion, environmental aesthetics is worthwhile to study, and its purpose is that it, as a framework of use-ful knowledge to the creation of the environment superi-or in quality, be applied to design.

• Archives of design research
• /
• v.19 no.1 s.63
• /
• pp.49-58
• /
• 2006

This study is on the general characteristics of 'Monolithic' architecture. The intentions of monolithic architecture can be assumed as an attempt to replace the formal looseness or difficulties of understanding formal complexity of modern architecture, or a trial to react against contemporary avant-garde architectural tendency typically characterized as unstableness, uncertainty, fluidity, and articulation to reestablish autonomy of architecture. Buildings in this category coincide in their extreme economy and simplicity of overall form and consistency of external appearance while showing great expressional capacity with very limited formal means. Even though monolithic architecture still seems a little unstable and ambiguous in historical aspects, it can be considered as strikingly shaped objects or autonomous forms with identities, logics, and representation that promote recognition. Using architectural techniques of scale, colors, materials and finishes, monolithic architecture shows strategically invested surfaces that mediate between the inside and the outside, and shows unexpected and mysterious autonomy. This kind of monolithic approach is also found in interior space as a separate objects that contain functional space inside, or as formal elements that overflow the boundaries of conventional architecture by eliminating the distinction between floor, wall, and ceiling.

• Korean Institute of Interior Design Journal
• /
• no.11
• /
• pp.57-63
• /
• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.

• Archives of design research
• /
• v.20 no.1 s.69
• /
• pp.111-120
• /
• 2007

This research proposes contextual space expression as a possibility of solution methods for local and historical issues, the matters that our contemporary architecture has to overcome. When modernistic architecture aimed for anonymous public interests denying the characteristics in historical and spacial contexts, postmodern architecture and regional architecture, etc have been striving to revive discontinued contextual meanings using various historical and environmental elements. While such attempts only borrowed architectural materials by superficially understanding the context, they could not comprehend ceaselessly changing contexts sufficiently. Choosing Jean Nouvel as one of the architects that can explain spatial plan to properly respond to such ever-changing, contemporary contexts, the researcher intended to understand his line of expressional characteristics of his architectural space and analyze his works as examples.

• Fashion & Textile Research Journal
• /
• v.17 no.3
• /
• pp.327-340
• /
• 2015

Male skirt is found in traditional costumes all over the world. Due to the development of tailoring skills in the early Middle ages, men started wearing breeches and pantaloons gradually distinguishing the different characteristics of menswear and womenswear. Since then, skirt became the strong representation of the female gender, symbolizing the feminism. However, under the influences of technological development and diversification in 2000s, gender identity has been diversely expressed in modern fashion allowing male gender to embrace different sexual identities. The purpose of the study is to analyze the nature of male skirts, which have been popularized in modern men's fashion through both the expressional elements and compositional elements. This study associates design elements of male skirt, gradually appearing in the contemporary men's fashion with the sexual symbolism and reinterpreted it's significance in the flow of the modern fashion. Reinterpretation of the gender image in costumes are considered to contribute to the cultural context and extension in diversity. These research results forms a basic foundation to expand in studies of men's fashion design and gender image of costumes through cultural contexts and it's changes. It is considered that this can lay groundwork to make various attempts at passing over the archetype of the gender image besides the continuous appearance of male skirt in the field of fashion design.

• Journal of the Korean Society of Costume
• /
• v.33
• /
• pp.5-25
• /
• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.