• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• Earthquakes and Structures
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• v.5 no.1
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• pp.49-65
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• 2013

This article presents the statistical characteristics of elastic floor acceleration spectra that represent the peak response demand of non-structural components attached to a nonlinear supporting frame. For this purpose, a set of stiff and flexible general moment resisting frames with periods of 0.3-3.6 sec. are analyzed using forty-nine near-field strong ground motion records. Peak accelerations are derived for each single degree of freedom non-structural component, supported by the above mentioned frames, through a direct-integration time-history analysis. These accelerations are obtained by Floor Acceleration Response Spectrum (FARS) method. They are statistically analyzed in the next step to achieve a better understanding of their height-wise distributions. The factors that affect FARS values are found in the relevant state of the art. Here, they are summarized to evaluate the amplification and/or reduction of FARS values especially when the supporting structures undergo inelastic behavior. The properties of FARS values are studied in three regions: long-period, fundamental-period and short-period. Maximum elastic acceleration response of non-structural component, mounted on inelastic frames, depends on the following factors: inelasticity intensity and modal periods of supporting structure; natural period, damping ratio and location of non-structural component. The FARS values, corresponded to the modal periods of supporting structure, are strongly reduced beyond elastic domain. However, they could be amplified in the transferring period domain between the mentioned modal periods. In the next step, the amplification and/or reduction of FARS values, caused by inelastic behavior of supporting structure, are calculated. A parameter called the response acceleration reduction factor ($R_{acc}$), has been previously used for far-field earthquakes. The feasibility of extending this parameter for near-field motions is focused here, suggested repeatedly in the relevant sources. The nonlinearity of supporting structure is included in ($R_{acc}$) for better estimation of maximum non-structural component absolute acceleration demand, which is ordinarily neglected in the seismic design provisions.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.451-462
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• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.4 s.117
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• pp.61-68
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• 2006

A park will soon be developed in an area of Gwangjang-dong, Gwangjin-gu. The place has been a patch of green space for years, isolated by driveways and apartment complexes and abandoned. This article describes plans to infuse the abandoned green space with history, ecology, culture, and sports. The facilities that are to be constructed in and around the green space are positioned to take into account the path of the sun and the location of the curvilinear green space axis. The cultural space is planned as a centerpiece of the park, linked with the sports facilities. The overall framework is arranged in harmony with nearby elementary schools, parks, public facilities, athletic facilities, parking lots, and apartment complexes. The themed circulation route was constructed according to the environmental conditions and the spatial plan. In addition, the historical space is planned to work in close conjunction with the cultural space, and the streets and pedestrian pathways have characters of their own. The established contour lines will be carefully preserved, and an ecological pond will. The facilities, such as the outdoor performance stage, the outdoor art gallery, the Monument of Wind represented by a sail, and the pedestrian bridge in memory of Acha-sansung, are positioned for spatial balance and to provide a nexus. The bamboo forest, designed to foster the experience of sound effects, the architectural thematic plants, and the ecological pond are positioned to connect to each other around the greenspace axis. The main facilities are the outdoor theater, the bamboo forest, the Acha-sansung bridge, the Monument of Wind, the ecological pond, the four-season flower garden, parking lots, playgrounds, circulatory athletic pathways, and the tennis court.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.339-345
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• 2023

Design exists behind technology. Design is intertwined with the needs of daily life and market structures, and while dealing with technology, it can become insensitive to its meaning. Unlike other social media platforms, Instagram consists of image-based content. The purpose of this study is to examine the addictive design of Instagram. Furthermore, we discuss the ethical responsibilities that designers must have. A theoretical framework for understanding Instagram design is established through a review of major domestic and international literature that has been previously studied. Understand the history, structure, and functions of Instagram and identify Instagram designs that promote social media addiction. In this study, we introduced the mechanism by which Instagram promotes user addiction through design issues. (1) Pull-to-Refresh (2) Red color in push alarm (3) Profile photo border expression in Instagram Story. This design stimulates users' social desires and FOMO, forming the structure of obsessive Instagram usage habits. Instagram is an example that forces us to reconsider the ethical role of design and designers along with the advancement of technology. In today's world, the intrinsic value of what they create, including our society and life itself.

• Archives of design research
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• v.13
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• pp.165-172
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• 1996

The National College of Art. Craft and Design of Sweden founded in 1811 is one of the oldest schools in the world and has taken very important role in the development of Scandinavian design This college usually called "Konstfack" in Sweden was transformed under the influence of Bauhaus into a modern design institute and the experiment:li curriculum and its unique teaching system was completed in the middle of 70' s The phrase "Insight och Flit" in the emblem of this school shows the Konslfack spirit which stresses the creative insight and endless diligence Korea is much different from Sweden in cultural aspects as well as in political and economic ones. In the later half of 19th century Sweden was one of the undeveloped countries in Europe and she just entered the Industrial Hevolution. Swedish culture at the time was also the barbarian one in comparison with English and Frech cultures. Even she had the difficulty in founding her own cultural identity So the Swedish intellectuals in early 20th century tried to find out "What is Swedish\ulcorner" and as the result they produced the Swedish Modern Movement style in 1950's. In this process Konstfack as well as the Swedish Society of Crafts and Design and the Svensk Form. the design magazine. has played the leading role. To look over the history and educational system of this school will be helpful for our design education. will be helpful for our design education.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.23-27
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• 2019

Korea boasts outstanding cultural heritage accumulated over the 5 thousand-year-long history, but has neglected developing marketable commercial products out of its culture. As a result, despite the fact that Korea had successfully developed internationally well-acknowledged technologies, there isn't any exceptional cultural product that can be marketed globally. Therefore, it is necessary to re-design and commercialize a modern sense using unique materials in traditional culture. Fabrics made by natural dyeing have a low saturation, so they do not need special color harmony, they are natural and comfortable. Therefore, fabrics obtained by natural dyeing are considered to be a very suitable material for cultural product development. In addition, Hanji is a good material that can build a field of art by itself because it has a quality, a profound and elegant feeling. In this study, Hanji-fabric, which is made of excellent Hanji, is used for natural dyeing with. Using the dyed fabrics, the cultural products such as two parasols and a card holder was made and presented.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.