• 한국실내디자인학회논문집
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• 제27권1호
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• pp.117-131
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• 2018

Due to the paradigm shift of the industrial structure in the contemporary china society, the usage of practical function of industrial facilities goes down in this high developing society, so that it falls into some unused spaces. But the unused industrial facilities that including historical, symbolic and cultural meaning has been creating a new cultural space by giving architectural form and function through a variety of application methods for revitalization design. Especially, the facade design which fully expresses the function and meaning of building while properly expressing the cultural situation. It improves the living and cultural conditions of residents while giving the new symbolism of unused industrial facilities through various ways of application methods for revitalization. The unused industrial facilities that was reconstructed into the exhibition space in Beijing and Shanghai, china since 2006 is the object and scope of this study. The purpose of this study is to analyze the methods and characteristics of application methods for revitalization according to each component of the facade design in the idle industrial facility and to expect it to become basic data in the future design plan of unused industrial facilities.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.48-55
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• 2010

Marcel Wanders, one of the greatest designers in the world of contemporary design, was born in the Netherlands. His works run the gamut from interior design to furniture design to lighting design, building a unique world of works. He started to gain fame when he presented "Knotted Chair" at Droog Design in 1996, which was made out of aramid ropes and later became his symbol. In 2000, he established "moooi," a world-renowned design label. By giving characteristic qualities, his works are given meaning, and like a fantastical dream, their images are extremely fantastical and stimulating. As can be seen in his character cover, he puts emphasis on the harmony between minimalism and decoration, establishing his own unique design concept. In this thesis, based on Marcel Wander's design philosophy, his overall design characteristics were classified into theatrical effects and storytelling. Expressive elements depaysement, eclectic mixture, and scale modification were derived from theatrical effects and analyzed; for storytelling, object, semantic cues, and dream and fantasy were derived and analyzed. A distinguishing feature of such analysis is his meaning-centric design approach, the principle by which to form long-term relationships with the users by creating user-centric designs that make them find meaning and values in diverse experiences in their daily routine, giving them familiar yet unique experience.

• 안보군사학연구
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• 통권1호
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• pp.113-154
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• 2003

We can feel the fear through the reports of outbreaking centers of terror. Also, we noticed through "the 9.11 terror" that there exists no safety zone from terrorism. However, we should question ourselves whether we are relaxing attention or ceasing anxiety too much in the perimeter, as in the peninsula of Korea. Through "the 9.11 terror", the vulnerability of the United State's homeland security has been exposed, giving a serious damage to the national pride. President Bush started the war against terror to strengthen global joints of anti-terrorism, identify terrorists and contribute to the global peace, adopting offensive realism including preemptive attack concept which means to remove the threat preemptively. In today's reality of international politics, where the inhuman, indiscriminate, and anti-civilizational international terror became greater, extending to the stage of war, the international societies' agony and focus lies on how to banish it. The 9.11 terrorism, which is a new form of terrorism, is being distinguished from conventional terrorism into new terrorism. New terrorism is a new form of terrorism meaning that you do not know the enemy, the goal does not exist and they conscientiously use the weapons of mass destruction. This paper is a work meant to help understanding new terrorism, the new form, by a comparative analysis with the conventional terrorism. Therefore the origin, concept and general characteristics new terrorism is picked out and the representative forms of it, which are suicide bombing, cyber, biochemical and nuclear terrorism, are analyzed in detail in theoretical manner.

• 한국의류학회지
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• 제19권2호
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• pp.190-202
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• 1995

The Optical Art is based on the principle of visual perception of the illusionary effects which induce psychological responses. It has influenced greatly on the Texile Design in that unique iJlusionary creativity of pattern simulates the visual sense of special movement; the dynamic psylosophy of vitalism. The Optical pattern has become a highly valued item due to its innovative effect in aesthetic direction. According to Vitor Vasarely the pioneer in this area, the integration and the inseparability of form and color which he calls 'Plastic Unity' provides the basis for the composition of infinite variety. The composition of infinite variety. The composition reveals the complex interaction between the space and form relating to order, repetition, combination and permutation. It is not simple to create optical patterns due to the extreme complexity composed by the multi-dimension and the infusion of form and color giving immensely varied movement. The purposes of this study are as follows; 1) to classify the complex processes of optical pattern on the basis of formative method. 2) to develop creative ideas for progressive contemporary textile design In this study, the analysis of applied methods is concentrated, which is based 1) on the gradual modification and on the transformation of the basic plastic elements which depend on thle direction of visual points involVing contradictory perspectives 2) on the composition varied special situations by repeating, overlapping and converging a series of idetUical units or by means of irrdiation, radiation and etc.

• 건축역사연구
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• 제25권6호
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• pp.35-44
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• 2016

The purpose of this study is to identify the aspect of expression about the form of Shwedagon Pagoda as well as to find out its meanings. The aesthetic value of Shwedagon Pagoda appears as the worship and infinite respect to Buddha realizing its beautiful sacred symbol. The meaning of Shwedagon Pagoda is to progress in keeping pace with the specific flexibility of Buddhism in Myanmar developing Buddhistic diversity and accepting its active changes. As time passes, Shwedagon Pagoda has been transformed. It is because that Myanmar's architecture was developed independently being affected by India with the introduction of Buddhism, and accepted it through autonomous reinterpretation. Then, the function of the worship space surrounding Shwedagon was extended and its annexes and statues of the Buddha were built; its scale became larger. This study shows the comparison between Shwezigon Pagoda and Shwedagon Pagoda. This method of investigation reveals that the formal changes of Shwedagon makes it transform to concise composition and develop aesthetical component giving the sense of vertical rise.

• 복식
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• 제54권5호
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• pp.125-138
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• 2004

This study has the aim of defining the special characteristics and images of the rainbow colored fashion by understanding the theoretical bases of rainbow colors and analyzing rainbow colored fashion images in historical materials. western and folk costumes. modern fashion design. Giving careful consideration to the rainbow colored fashion makes it possible to develope the innovative way of fashion design to satisfy the needs of color usual for designers and colorists. To obtain the purposes, document study and survey study have been executed. The results of this study are as follows. In document studies, the beginning of rainbow colored fashion went back in ancient Egypt. Also saikdong of korea, poncho of indians are the examples of the rainbow colored fashion. The rainbow colored fashion were put on a man of position in principle ceremony for ornaments. In survey studies, the clothing perception characteristics in rainbow colored fashion were analyzed. Main factors of perception characteristics In the rainbow colored fashion are ＇closed form＇, ＇whole＇, ＇indeterminate＇, ＇rounded＇, ＇planar separation＇ The factors that affect the perception of rainbow colored fashion are ＇closed form＇ and ＇indeterminate＇ characteristics. And rainbow colored fashion images and clothing perception characteristics can be classified into four main images : Vigorous, Colorful/fairy, Fresh, Mysterious/brilliant. Therefore. this study is to systematize the characteristics and images of rainbow colors. Based on the results makes it possible to adapt rainbow colors to fashion design efficiently, for the suggested design elements and color palettes include basic three fashion design elements color. texture. form.

• 한국실내디자인학회논문집
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• 제15권3호
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• pp.201-210
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• 2006

Among the architects who use diagrams as a digital design process, especially through Peter Eisenman and Ben van Berkel's works, we have specifically got the meaning of their diagrams. Their diagrams act as 'the block of becoming' and we can regard the diagrams not only as a tool of devenir including architect's root thoughts beyond a tool of schematic presentation, but also as architect's intention including devenir thought. And in the case of diagrams which the architects use, we can recognize that architects' intentions are to think that Deleuze's 'machine abstraite' evolve the diagram into various and transformed form. That is to say, Peter Eisenman interprets the machine abstraite as a root thought of devenir by using diagram as medium to reveal the virtual. And Ben van Berkel transforms the diagram by including all external conditions into selected diagram which shows the abstract relations to the elements. We can get the meaning of the machine abstraite from these cases well. This study will play an important role in giving good usage of the diagram in making a form of contemporary digital architecture and showing the direction of form creation field.

• 동의생리병리학회지
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• 제24권6호
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• pp.911-920
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• 2010

The basic principles in the "Spleen-stomach theory(脾胃論)" sets up the phases and roles of spleen-stomach (脾胃) by establishing Earth(地 坤 土) and exposing the reality of spleen-stomach(脾胃) of human body which has its own shape and form with Heaven's reality exhibited. The meaning of Earth is based on the constant meaning of Earth in 'Earth Original-Earth as extended and stable ground(坤元一正之土)' giving form and shape, and Earth's movement with circulation, then exposes itself as 'Earth as plowing land(耕種之土)' concerning both the application of Five Phases and the physical characteristics of Earth. The Yin-Yang recognition on Earth is revealed as Yin Earth(陰土)-Yang Earth(陽土). Spleen(脾) was established as Yin Earth(陰土) and Stomach(胃) as Yang Earth(陽土). The seasonal assignment of Earth is Indian Summer(長夏), which is divided from Summer, and becomes Heat(熱), and the Yin-Yang recognition of Earth comes to be the meaning of the center and border. According to the Five Phasic recognition, it becomes Earth(土) and gets to be Dampness(濕) in accordance with Six Qi(六氣). 'Extreme Yin(至陰)' indicates Qi's status exposing the fundamental meaning regarding the role of creating, changing, and propelling Spleen-Stomach(脾胃) as a characteristic Yin Earth. Earth comprehends 'Four Courses(四維)' meaning, recognizes them as four parts of the 12 Earth's Branches(辰戌丑未) and the terminals of four seasons(四季之末), and has the meaning of the president of the change in four seasons. The theory of principle in the "Spleen-stomach theory(脾胃論)" stands on the basis of the 'Form Qi theory(形氣論)' and that of 'Upbearing, Downbearing, Floating, and Sinking theory(升降浮沈論)'. It manifests the theory of movement in the interaction between Form(形) and Qi(氣), and 'Qi Interior Form Exterior(氣裏形表)' indicates that Qi(氣) moves interiorly and Form(形) exteriorly.

• 한국초등과학교육학회지:초등과학교육
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• 제25권2호
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• pp.126-140
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• 2006

본 연구는 '가설 생성 과정에서 귀추법 사용을 유도하는 틀', 즉 '귀추법 양식'을 고안하고, 그 틀을 사용하여 생성한 가설의 특징을 틀을 사용하지 않고 생성한 가설의 특징과 비교하여 분석하는 것을 목적으로 하였다. '귀추법 양식'은 Peirce가 제시한 귀추법의 의미와 형식에 관한 고찰을 통해 (i) 의심의 대상을 명기하는 단계, (ii) 의심의 대상을 믿음의 대상이 되게 하는 설명을 명기하는 단계, 그리고 (iii) 그 설명을 가설로 명기하는 단계로 구성되었다. 예비 교사 34명을 대상으로 하여 동일한 대상에게 두 가지 방법을 모두 사용하게 한 결과, 고안된 '귀추법 양식'을 사용하여 가설을 생성한 경우는, 첫째, 가설의 의미를 혼동하거나 충실히 반영하지 못한 경우로 볼 수 있는 유형들이 전혀 발견되지 않거나 상대적으로 적었고, 둘째, '부분적으로 유사성을 지닌 다른 현상이나 상황에 관한 기존 지식으로부터 유추하여 문제 상황의 원인에 관해 설명하는 유형'의 비율이 특정한 틀을 제공하지 않은 경우에 비해 두 배 이상 높았다. 결국, '귀추법 양식'을 사용하여 생성된 가설은 그렇지 않은 경우보다 상대적으로 '현상의 원인에 관한 설명과 지식의 확장 초래'라는 가설의 본래적 의미에 좀 더 충실한 특징을 가지고 있었다. 이는 '귀추법 양식'이, 그 형태가 비교적 간단함에도 불구하고, 과학 수업 현장에서 바람직한 형태의 가설이 생성되도록 돕는 하나의 방안이 될 수 있음을 보여주는 것이기도 한다.

• 한국실내디자인학회논문집
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• 제11호
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• pp.57-63
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• 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.