• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2005년도 춘계학술발표대회 논문집
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• pp.116-121
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• 2005

This research against the method of applying a traditional design elements to modern interior space is classified and analyzed by direct expression method, a transfigure expression method, a metaphor expression method and a symbol expression method. The direct expression method means the modernizing the traditional design elements by expressing traditional material and structural formative style as they are, and the transfigure expression method is the design method of re-organizing the elements by simplifying and transfiguring the traditional design elements. Metaphor expression method includes the method of expressing visually the formative concept which does not known concretely, and the symbol expression method exchanges the rising concepts into concrete elements and expresses by new design.

• East Asian mathematical journal
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• 제37권2호
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• pp.169-196
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• 2021

The purpose of this study was to improve academic achievement and mathematics learning attitudes in the formative assessment using descriptive problems as an effective teaching method. In this paper we set the following research questions. First, how would you improve students' academic achievement utilizing descriptive evaluation? Second, how would improve students' mathematics learning attitudes utilizing descriptive evaluation? Third, what was the reaction utilizing the descriptive method to evaluate? The result of this study could be seen as follows. The experimental group than the control group on academic achievement shows a significant improvement. Second, the experimental group compared to the control group in mathematics learning attitude changes could be helpful and appreciated. Third, experimental group than in the control group indicates significance could be seen in the reaction.

• 디자인학연구
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• 제13권3호
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• pp.221-234
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• 2000

본 연구는 1970년대 이후 포스트 모더니즘 예술가들의 작품공간에서 나타나고 있는 해체적 방식의 공간개념 고찰을 목적으로 하고 있다. 이에 따라 예술가들의 세계관 변화에 따른 20세기 후기 시대 포스트모더니즘 시각예술 작품에 나타난 복잡계(complex System)의 특성들을 20세기 전기 시대 모더니즘 시각예술 작품에 나타난 단순계(simple System)의 특성들과 비교하여, 그 특성들이 작품형식의 특징을 이루어 주는 구성체계와 어떤 상관관계를 맺으며 조형적 체계화의 변수를 갖게 되는가에 대한 탐구이다. 따라서 그 구성체계들과 변수에 대한 이론적 접근방법으로서는 예술작업에서 기본적 형태 구성 방법으로 사용되는 질서체계의 의미 즉, 모듈(module) 개념을 르 꼬르뷔제(Le Corbusier)의 이론을 통하여 살펴보고, 예술작업에서의 형태구조를 랭거(Suzanne langer)의 형태론 연구에서 정의된 '생명체의 법칙(the law of living form) 즉, '유기체의 원리(the principles of organization)'로 볼 수 있을 때, 인체나 자연 생태계의 성장구조에서 나타나는 유기체적 구조라고 보며, 모듈의 법칙을 지배하는 원리를 햄비지(Jay Hambidge)가 주장하는 다이내믹 시미트리(dynamic symmetry)로서 작품 공간을 산술분석 하였다. 이로써 20세기 전기 시대와 후기 시대의 시각예술 작품에서 나타난 양식의 특성들을 제시작품을 통하여 그 내용면과 형식면에서 차이를 비교 분석할 수 있었으며 이를 통해 20세기 후기 포스트 모더니즘 시각예술 작품에서 나타나는 복잡계의 특성들이 새로운 조형적 체제화의 변수에 작용하는 원리를 다음과 같이 다음과 같이 제안할 수 있게 되었다. 첫째, 작품공간에서의 모듈은 다이내믹 시미트리로부터 만들어지고 이루어져야 한다. 둘째, 모듈은 다이내믹 시미트리의 필요충분 조건인 만족스럽고(acceptable), 효율적이며(effcient), 융통적이고(flexible), 적응력이 뛰어난(adaptable) 인간적 요구사항을 충족시켜야 한다. 셋째, 다이내믹 시미트리는 역(逆, reciprocity)의 원리와 보상(補賞, complement)의 원리를 제 1의 구성원리로 하며 공간에서 서로에 대한 역과 공통성(common property)을 갖고 자기유사를 지닐 때 연속체(continuum)를 손상하지 않고 전체공간을 유기체적으로 분절한다.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• 디자인학연구
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• 제17권2호
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• pp.279-288
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• 2004

기업 내 디자인 작업은 과거의 전문직으로서의 폐쇄된 직능과 소극적 역할에서 현재의 성공적 제품 생산을 위한 기획, 마케팅, 기술은 물론 기업 브랜드 이미지 차별화를 위한 전략 구축 등의 적극적인 역할로 확대되었다. 그래서 디자이너가 타부서와의 의사교통은 물론 중요한 결정이나 정보 공유, 객관적 판단 등에 참여하거나 주도해야 하는 경우가 점차 늘어나고 있다. 이와 같이 디자인 작업은 협동 업무를 전제조건으로 하지만 디자인 프로세스의 조형작업(styling)은 디자이너의 직관이나 경험 등 주관성을 기초로 전개되는 특성을 가져 제품개발에 관계되는 구성원 사이에서 심지어는 한 디자인팀 안에서도 여러 형태의 장애로 표출된다. 이러한 점을 극복하고 보다 더 효율적인 디자인 결정 과정을 유도하고 제품의 형태를 개발, 평가 및 관리를 체계화할 수 있는 수단이 필요하게 되었다. 본 연구에서는 이의 기초가 될 수 있는 제품 형태가 표현하는 형상(image) 뒤에 숨은 조형적 원인이나 질서(객관적 체계 또는 공유할 수 있는 논리)를 실험을 통해 발견할 수 있다는 가설을 세우고 증명하였다. 이 실험의 결과로서, 시각적 개성의 표현인 조형에 관계하는 요인과 이들의 성향이나 상호역할의 체계를 규명하였다. 이 요인을 조형변수로, 또 이 체계를 정합적 제품 형태 전개 방법이라 명명하고, 이 과정에서 도출된 논리를 기초로 개발과정에서 목표한 형상에 정합적으로 접근하는 과정을 설명하였다. 이는 디자이너의 직관적 창의성과 추론적 논리성의 균형을 설정하는 방법으로서, 이 논리와 체계가 디자이너간에 공유할 수 있는 조형언어의 틀이 되고 타부서와의 의사교통에도 도움이 되는 하나의 지원 수단으로 제안된다. 이를 통해 디자이너는 목표한 이미지에 정합적으로 접근하여, 형태 전개 범위를 집중시키고 개발기간을 단축하기 위한 방법으로 사용하여 조형작업에 수반되는 불필요한 장애나 오류를 최소화할 수 있을 것으로 기대한다.

• 복식문화연구
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• 제13권6호통권59호
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• 커뮤니케이션디자인학연구
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• 제59권
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• pp.298-308
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• 2017

전 세계적으로 국가간의 커뮤니케이션이 활발하게 이루어지고 있는 현대사회에서 각 국가들은 스스로의 문화적 정체성을 확립하기 위해 부단한 노력을 기울이고 있다. 우리나라 또한 이러한 세계적인 움직임에 발맞춰 '한국적' 전통을 활용한 디자인 개발과 이를 실생활에 적용하기 위한 활발한 연구가 이루어지고 있다. 하지만 아직 우리나라에서 이루어지고 있는 한국적 디자인이란 단순히 전통 형태나 색채를 그대로 모방하는 것에 멈추어 독창적인 민족적 미의식을 창출해 내기에는 부족한 부분이 상당부분 발견 된다. 한국 전통 문화에 대한 연구가 지속되고 있음에도 불구하고 이러한 현상이 지속되고 있는 원인은 한국적 문화 정체성 확립과 활용이 아직은 부족한 결과라 사료된다. 이에 본 연구에서는 색채와 함께 한국의 전통미를 결정하는 주된 요소인 조형성, 즉 형태분석을 통하여 한국의 전통 형태의 정체성을 확립하고 예시를 통해 이를 현대디자인에 적용시키기 위한 방법을 연구하는 것을 목적으로 한다. 이를 위해 한국 전통 조형미에 대한 논의가 이루어 질 때 가장 빈번하게 언급되는 선(線)과 문양(文樣)을 중심으로 그 사용 행태와 조형적 특성을 의(衣), 식(食), 주(住)로 나누어 분석하고 현대적 적용 가능성을 위한 기초자료를 제시하고자 한다.

• 복식
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• 제62권5호
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• pp.1-15
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• 2012

In a fast changing postmodern society, contemporary fashion is becoming more complicated and ambiguous along with other genres of art than ever before. This phenomenon reigning as a sociocultural paradigm can be defined as 'indeterminacy' and it means 'undecidability'. The purpose of this study is to clarify and analyze the indeterminate characteristics of contemporary fashion reviewing the theoretical background and the architectural formativeness as a comparative research. The core idea of deconstructivism dismantles a causal relationship between function and form in fashion and the conventional notion about clothes. Complexity theory, which is the study of chaotic dynamical systems, suggests the creative idea and concept of infinite possibilities on a formative method. Meanwhile, catastrophe theory of discontinuous change can be used as interpretative strategies for the process of deconstruction and reconstruction. As a result of this study, the indeterminacy of fashion can be analyzed into five semantic categories: irregularity, immateriality, randomness, complexity and changeability. The intrinsic value of the indeterminacy in contemporary fashion is the interaction with a sociocultural ideology and a technological environment as well as an expansion of formative expression. To conclude, it can be said that the indeterminacy in fashion is a new interpretation of the relationship among body and space, clothes and society.

• 한국의상디자인학회지
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• 제11권2호
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• pp.131-142
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• 2009

In response to the need of developing children's wear design using traditional elements, this study purposed to develop fashion designs emphasizing contemporary images based on the symbolism and formativeness of traditional dresses. For this study, we reviewed the definitions and symbolism of traditional colors and traditional patterns using previous research, and classified them according to formative shape. In addition, this study made three pieces of dress and developed unique designs by applying the traditional patterns and elements of Korean traditional dress styles. The research methods were as follows. First, we examined the images of Korean traditional colors and classified the symbols and meanings of the colors. Second, we identified the types of patterns, and classified them into shapes and symbols. Third, we designed and made actual works by applying traditional patterns. Based on the theoretical studies as presented above, we developed contemporary casual hanbok designs for children by applying symbolic and formative traditional patterns and using DTP (digital textile printing).

• 한국의류산업학회지
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• 제21권6호
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• pp.830-836
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• 2019

A diverse range of products are currently being sold; however, it is very difficult to purchase All-in-One patterns that reflect the body types of the elderly stage in the open market. This study is to develop specialized All-in-One patterns by assessing obese body types characteristics of the elderly social class. Five healthy women with typical obese body types in the elderly stage with busts, waists, and hips surpassing 100 cm were chose as test subjects. The three subjects for the wearing experiment are those with more than one year of experience wearing a bodysuit. A self-evaluation was made three times by looking in the mirror. The data from this study was processed to find averages and deviations; in addition, and a t-test was performed using the SPSS 24 statistical software. A total of 13 body parts were measured prior to and while wearing the specialized All-in-One patterns. Significant results were obtained from all 12 items. All-in-One for research appears to have produced a high level of satisfaction for subjects. This study can provide basic data on elevating the levels of satisfaction of the consumers in their elderly stages with special body types that deviate from standard body types at the time of wearing garments as well as for inner-wear companies to graft this market as a high-value-added niche market.