• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.2 s.13
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• pp.75-84
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• 2007

All styles began to coexist by recognizing diversity and changeability instead of an absolute value system of beauty or truth in the general culture field of modern society. In other words, the characteristic of deconstructism, which breaks down the boundary between order, balance, style and genre within the texture, is brought out. This characteristic is also having an effect on the field of up style in a hair genre to secure the beauty of incompletion as the beauty of the present time, involving the beauty of ugliness in the boundary of beauty. This study aims at presenting new vision by applying deconstuctism to the up style to express as an original and experimental formative art with various expressive methods. In addition, it aims at being perfect for presenting the creativity and artistry through expressive techniques by formative factor of deconstructive up style to find new methods and directions to design concept with main expressive ability of deconstructive up style.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.46-56
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• 2010

The nature is the foundation of human life and arts, and human beings have found order and principle amid ceaseless change and harmonization of the nature and diversified patterns and directly or indirectly applied the nature to interior through discovered principles. Interior space to which the organic factors of the nature is an expression of the vitality of the nature and expresses live forms as seen in change, development and growth of living organisms in addition to human feelings. The study aims to recognize the necessity of studies on interior space to which organic expressive characteristics of the nature are applied in uniformed space, suggest expressive characteristics and propose needed basic data required at a time of designing interior space. In this regard, the study has examined works by five contemporary designers including Zaha Hadid, Karim Rashid, Fabio Novembre and Nox with an aim to analyze expressive characteristics of interior design and figure expressive characteristics of organic design found in interior space. According to analyses on preceding literary studies and case studies (14 places), it has been found that organic expressive characteristics in interior space include vision, tactile sensation and auditory sense in terms of sensitivity, immateriality in terms of a property of matter, metaphor and abstraction in terms of the form of natural objects and non-linear curves and free curves in organic design. Organic spaces were characterized by symbolism, directionality, continuity, pattern and superimposition. This conclusion is expected to be useful in subsequent studies on the application of organic expressive characteristic factors at a time of planning interior space in the future.

• Journal of Fashion Business
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• v.26 no.2
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• pp.110-128
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• 2022

The purpose of this study was to analyze the expressive characteristics of Chinese shadow puppetry costumes. Literature study and case analysis were conducted using books, research papers, and materials from the Xi'an shadow puppetry museum. Based on the Chinese traditional costumes, the shape characteristics are utilized with the intaglio and embossing techniques, and the complex and unnecessary details are omitted to express the costume image in a characteristic and simple manner. Second, colour was used according to the traditional Chinese symbolic colour concept, and the brighter the colour, the higher the role's status. The colour was also used to express identity and character. In addition, relatively vivid and highly saturated colours were used for the transparent effect of the shadow puppetry. Third, a role's status is indicated by the density and completeness of the patterns; the higher the role's status, the more complex and sophisticated the patterns, and the lower the status, the simpler the patterns or no patterns are used. Fourth, the faith for blessing expressed in the shadow puppetry is a representative folk auspicious culture. The repertoire of the shadow puppetry and the patterns on the costumes worn by the puppets, express the culture in an implicit way to symbolize the meaning of auspicious things.

• Journal of Fashion Business
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• v.27 no.6
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• pp.37-46
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• 2023

This study aims to develop workwear prototypes by applying a systematic approach considering the characteristics of workwear. A case study was conducted before this study to derive workwear's four characteristics: 'Ergonomic Pattern-Making, Certified Fabric, Specialized Color, and Customized Details.' a prior study proposed the integrated framework combining these characteristics with the FEA model. The new framework identified that these characteristics are considered in terms of functionality, expression, and aesthetics; it can increase workers' satisfaction and meet the market demand without concentrating on only particular aspects. Before prototype production, the requirements for each characteristic of workwear were analyzed through theoretical research of previously published related papers. The study primarily gathered workwear requirements data and sources from consumer satisfaction surveys and investigations into the wearing conditions of work clothes. When considering all aspects of pattern-making, fabric, color, and detail in functionality, 'comfort movement, body protection, improved work efficiency' were identified as necessary. Expressive requirements were fundamental, including 'reflecting the wearer's preferences, expressing a sense of belonging and identity. It was clear that incorporating design elements and applying current trends to the aesthetic requirements of work clothes was necessary. Four prototypes comprised two top and bottom sets and two overalls using these requirements. The framework was used throughout the entire process of planning, producing, and evaluating prototypes, and through this, the results fulfilled the requirements. This study is significant because it produced workwear prototypes using an integrated approach that considered functional, expressive, and aesthetic aspects.

• Archives of design research
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• v.13
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• pp.123-137
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• 1996

Weaving, is an ideal subject for study to designer who is concerned with interrelationship between art and technology. Double cloth is a two layered fabric that can be woven on the loom with more than 4 harnesses, is often used to produce special woven fabric such as double width fabric or reverse pattern fabric, etc, in textile industry. Because of the attractive characteristic of two layered structure, double cloth technique can be applied as expressive media in fiber art requiring aesthetics and creativty. in the work, the concept, types, and characteristics of double weave have been studied through literature survey and sample production and the potential characteristics of this technique is, especially, emphasized by analysing the representative works of artists specilized in a double weave. Double weave technique can provide various images or forms throught the variation of structures and expressive styles and therefore suggests another characteristic expression creative means for weaver to develope.

• Korean Institute of Interior Design Journal
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• v.18 no.4
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• pp.43-50
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• 2009

Design trend, transparency, which has been developed under a reflection of current periodic environment, has been exposed to people all over the world through varieties of architecture facade and interior space. As interior space follows this trend, which has difference in showing space from the past, transparency becomes an important measure of showing openness of certain space. Main objective of this research is to understand a characteristics of materials that leads transparency a important measure to the modern interior design, and this will set the range to this applicable materials for appropriate areas of defining transparency in an interior. Characteristic uses of transparent materials found in this research which leads transparency into interior space are described below: First, there are two perspectives in transparency. One is visibility and material wised transparency and the other is conditional and spacial wised transparency. With this knowledge, we can expand a level of transparency with ideas such as clarity, opacity, visible transmission, and reflection, and this broadened range will vary the acceptable materials used to show transparency. Second, transparent materials are used with many different purposes in modern interior space as furnitures, sanitary fixtures, partitions, and other structures. With using modern technology in reforming this materials brought new methods in structure composing. last, transparent materials' expnt pable characteristics made modern interior space to have a control over spacial homogeneity, a simplified octlines, weakened boundaries, and compositional effects by interference and vision.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.26-34
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• 2004

This study aims to inquire into the expressive characters of philippe stark's works regarding his design concept. This study examines Philippe stark's design works except for furniture design. It also looks into the modern design trend, France design trend, background of his growth and people who have influenced him. Firstly, this study examines Philippe stark's five design works after 1997. Second, the study is going to analysis the fact between his interior design and furniture projects to read their mutual relation. As a result from this study, first, the understanding of Philippe stark's works in harmony with the dynamics of technology and aesthetics can provide his design languages, characteristics and current design trend. Second, Philippe stark can create unfamiliar space through experimental though and imagination. The study present data on Philippe stark and puts forwards the significance of his works and tries to lead the way of the relation interior design and furniture.

• Korean Institute of Interior Design Journal
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• no.22
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• pp.92-101
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• 2000

This study aims to inquire into the expressive characters of Shiro Kuramata's works regarding his design languages. His design languages, based on sentimentality and aesthetics characteristic of the orient and his unique memories and experiences, can be defined as nongravitation, fioatation and transparency. And the definition can be completed by his unique extinguishing technique, eliminating the structure with materials without feature, such as glass and acrylic and expanded metal, steel mash and 'Star piece Terrazzo' a material which he has invented. This study examines Shiro Kuramata's design works from the late 1960's to 1991, the year of his death, the background of his growth and the art and people who have influenced him. It also looks into the indigenous cultural background and his unique memories and experiences. The study also considers his furniture works and interior design to read his languages properties of the materials and expressive techniques. The study presents data on Shiro Kuramata and puts forwards the significance of his works and tries to lead the way of the interior design by application techniques of materials.