• Journal of Science of Art and Design
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• v.1
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• pp.189-226
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• 1999

The purpose of this paper is to examine the common characteristics of late 20th century interior design style and the post-modern thinking system. A period has its own predominant spirit which determine the tendency of art, and the ubiquitous power in the spirit decides the period's pattern of art. Therefore the interior design style belongs to general art sphere that has its own individual character derived from the dominant power of the controlling system. Paying special attention to this understanding, the auther has processed this paper by combining the post-modem thinking with special characteristics of each of the 20th century interior design style. Until now, researches have been focused on the individual style of post-modern design; however, a general research comprising the whole characteristics of expression has not been made. Accordingly, the rationale of emphasizing the general point of view is establshed. Also, this study suggests a model applicable to studies concerning other art area. This type of methodology is receving more attention as an approach investigating new art ideology for researching post-modern thinking and late 20th century art styles. The conclusions are as follows: First, the distinctive expressions of postmodernism appear to be characteristic of illusion, metaphor, pluralism, decoration, and symmetry, Those of late modernism appear to be the characteristic of complicated simplicity and symplified complexity, passiveness of symbolism and harmony, indeterminacy of form and space, and unintentional decorativeness. And the characteristics of deconstructionism are spatial difference and temporal defferal, and un-reductive and non formal abstractiveness of the space, unfinishness, chance, and secretiveness of individual style. Second, the disinctive expression seems to share common characteristics with postmodern thinking. The best examples are pluralism, non-formalism, populism, and historicism, originating from the deconstruction of 'meta-narrative'. Third, based on the second conclusion, general distinctive expression could be simplified as chacteristics of plurality, hybridity, and indeterminacy. These expressive chacteristics appear to be automatically connected with general postmodern thinking. Last, in consideration of the above conclusion, the extreme generality could be distinctively clarified as 'textural co-exsistence'. Accordingly, the author might confirm that 'textural co-existence' originated from the text that comes from postmodern thinking. In conclusion, design expression of late 20th century interior design accepts the ?universal theme of ubiquitous postmodern thinking. And universal expressions and supreme generality can be common analysis tools for understanding and studying complicated late 20th century interior design.

• Culinary science and hospitality research
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• v.16 no.5
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• pp.221-232
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• 2010

This study is designed to understand the perception and satisfaction of parents on food coordination in kindergarten foodservice to improve the quality of food coordination. It was measured by 5-points Likert. Factors of food coordination, eating habits and food satisfaction were extracted from previous research papers. Validity and reliability analyses were conducted to make verified criterion for these factors. Using Amos 7.0 to graphically verify the structure of the overall model, and the results are as follows. First, food coordination factors such as food, tableware, and interior decoration have positive effects on children's eating habits. In other words, food coordination influences favorably on children's eating habits. Second, eating habit is another positive factor in food satisfaction. This means having proper eating habit contributes to food satisfaction in general. Third, while tableware and decoration indirectly influence food satisfaction by enhancing eating habits, food itself more directly affects food satisfaction.

• Journal of the Korean Home Economics Association
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• v.11 no.1
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• pp.3-13
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• 1973

This article has an aim to study what kind of housing system our ancestors lived with during the Yi-Dynasty by analyzing the house-plan of upper-class society of that period since the house of lower-class was very insignificant as it has always been while the house of upper-class represented the period. With this study we can clearly see how we ought to go in the right direction toward the development of our Korean genuine housing by renovating and renewing those unreasonable points in our traditional housing system. It is firmly believed that we should-keep our own unique traditional lovely housing system for being destroyed by the whirl-wind of modernization and the demand of rationalism and efficiency-centered idea of the western mind. From this view point we think it is very urgent to see this matter correctly and find out the real way how we should do in order to keep our own good things for ourselves and make them preserved. This essay is divided into three parts as follows : 1. Thoughts on selecting the good housing area. 2. The aspect of housing reflected upon composing the house-plan. 3. The characteristic sentiments reflected upon the interior construction and decoration. We can find several characteristic points in the housing system of the Yi-Dynasty as follows : 1. In Korea, the thought of natural geography (Poongsu-seul), apart fro scientific view, which seems rather superstitious to us, modern young people, has been highly recommended by the people of our country from old days connected with the prosperity of our life. They also neglected about the social circumstances such as, market, transportation, and education, which are now considered as very important. They only put their concern on this natural environment which they called Poongsu. 2. In construction of house-plan, the house was not built for living with reasonable convenience, but for showing prestige of the upper-class people reflecting its social organization under the feudalism of the period. Furthermore, the most of the housework was done actually by those servants and maids of the house, and not the family themselves. The only concern for the upper-class people was to show off their authority, and so this sense of authority was revealed in the housing as well. 3. Both the outside appearance of the house and the interior decoration or the furniture are all very artistic and lovely. They were so refined and beautiful with their delicate taste which truly seem against our modern rationalism and uniformity.

• Anxiety and mood
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• v.18 no.2
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• pp.56-64
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• 2022

Objective : Creating a psychologically stable indoor environment is a significant factor in modern life. This study was conducted to confirm which type of wood interior decorating environment was beneficial for improving depression and anxiety. Methods : A total of 59 participants will randomly assign to each accommodation by dividing the rest of the three setting with the same structure with 0% wood interior decorating environment, 45% wood environment, and 90% wood environment. The Psychological evaluation measured at three time points, was before exposure to the wood environment (T1), 45 minutes after exposure to the wood environment (T2), and 20 hours after exposure to the wood environment (T3). Results : As a result of examining the effect of the wood interior use ratio on psychological variables, After about 20 hours (T3), there were significant differences in mood state_vigor-activity(𝛘²=7.253, p<0.05), mood state_tension-anxiety (𝛘²=7.041, p<0.05), mood state_anger-hostility(𝛘²=8.318, p<0.05), and state anxiety (𝛘²=7.680, p<0.05). State anxiety also showed a significant difference in T2 (𝛘²=8.811, p<.05). As a result of analyzing the effect on satisfaction and subjective impression, there was a significant difference in satisfaction (𝛘²=6.300, p<0.05) and 'pleasant (𝛘²=6.930, p<0.05), airy (𝛘²=6.628, p<0.05), masculine (𝛘²=6.906, p<0.05), ordinary(𝛘²=6.662, p<0.05), natural (𝛘²=13.924, p<0.001), calm (𝛘²=13.106, p<0.001), safe (𝛘²=7.755, p<0.05)'. Conclusion : The wood interior decorating environment had a positive effect on anxiety and mood, such as lowering depressive and anxious mood and increasing positive changes and as the ratio of wood decoration increased, it had a greater positive effect on emotions.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.25-43
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• 2019

The purpose of flower decoration at the funeral altar is to create various flower decorations at altar according to the social status of the deceased, to console psychological shock and pains of mourners and the bereaved families, and to make them remember the life of the deceased beautifully. In this study, five top funeral service companies in Korea selected by the Fair Trade Commission in 2017 and five repr And this researcher identified problems in flower decorations at the funeral altar in Korea, by comparing and analyzing the styles of flower decorations at funeral altars in Korea and Japan. In addition, this researcher surveyed consumers' preferences by age group. According to the results of the survey, most of the entire age group responded positively to the flower decorations at the funeral altar which focused on the job of the deceased. This means that consumers are demanding changes to the flower decorations at the funeral altar which are made up of the products of funeral service companies. In addition, the results of the survey, it can be seen that most consumers prefer to decorate the altar flowers according to the occupation, hobby, and taste of the deceased and present the altar in three dimensions like a landscape of nature. esentative funeral service companies in Japan were surveyed on the status of flower decorations at the funeral altar.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.42-50
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• 2014

The purpose of this study is to analyze the change of perception and to measure the degree of interaction between the lighting and the finishing materials according to preference types and the impacted factors to the spatial sensitivity of users. To do that, the this change was grasped through the experiment with Likert Scale and ANOVA of SPSS program to the simulated images. The result of this study is as following. Firstly, the personal difference in the perception of space comes from 'attention' in information processing process. The degree of the perception of users change strongly by lighting in the space expressed the 'modern natural'. Secondly, the atmosphere and the degree of perception are different in the preference of users to the spatial sensitivity and in impacted factors which are thought by users in the space sensitives. The users who prefer the 'decoration' feel the mood more strongly in the space. But the users who prefer the 'active' and 'intimacy' are opposite to that. The difference to the degree of perception is greater in the 'classic natural' than the others under the lighting turns on. Thirdly, an in-depth research which is considered of the interaction among the various factors is needed for finding the design methods for inducing the sensitivity of users in the space. And the ranking of the impacted factors should be understanded and applied to the research regarding the changes of perception in the space. Finally, this study has the limitation to be adapted to all of the situation for the space design methods. But this will be a basic data to study the design methods for users's sensitivity in the space.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.66-72
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• 2010

The purpose of this study is to pronounce design trends in contemporary architecture collaborated with new media art concept. Currently, the prevalence of media presence has evolved perspectives on contemporary aesthetics today. To make clear demonstration on the issue, this study categorized new media art's expressional characteristics applied in the contemporary architectural design in conjunction with analytical researches on typologies and expressional characteristics appear in new media art. More specifically, the study selected architects who adopted new media art's expressional characteristics into their works from the year 2000 and performed analytical case studies with regard to the effect of the new media art into their architectural practices. By following methodologies mentioned above, conclusively the study categorized distinct expressional characteristics appears in contemporary architecture as a result of merging with new media art. The characteristics of the new media art appeared in contemporary architecture are categorized into three groups such as the design controlling external environment, the design utilizing web environment and the design participated by users. These observation could be translated that architects could present interactive design between users and building as a result from architect's capability of designing protocols which generate variable forms, colors and patterns in architecture. In particular, architecture utilizing web environment has characteristic capability of configurating user's program in virtual space. Also it is anticipated to suggest new patterns in generating architectural programs and forms. These patterns would not recognize the city merely as an incident or fragmented image but would configurate forms and images constructed by individual notional character. In conclusion, the architecture itself is expected to perform as media to open up opportunities that enables to contribute in expediting interactions among environment, users, and buildings by deviating from perspectives of representation as an object expressed in modernism architecture or as a classical decoration in post-modernism architecture in the past era.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.181-186
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• 1997

If you compare recent works in small commercial places along with the terms such as Post-Modernism, Late-Modernism, and Dismantling, to those of 60's and 70's, you will discover for sure that recent works try to model individually with 'surface'. Expressing the responses to the multilateral cultural desires is available through the organization of surface, so are the re-presentationsof classic notions by adding decorations to the vertical walls, which are different from modern constructions that have persisted on only space itself as a main point. These trends are various organizing techniques with forms, decorations, materials, color etc. and made the surface modeling develop. What a 'surface element' means as a concrete notion in a design process in a commercial place is enormous. So, it implies lots of notions and logic, and can be a strong message-conveying means as well as an expressional language. At this point of view, the research was limited to Facade, which is treated as a creational object to a designer all the time in order to study what kind of system the surface organization has in a small commercial place. This is to find out what kind of system the designer uses to make the spatial images, orders and forms through surface, but ultimately it is to discover the designer's basic tecniques that he or she uses when planning. To sum up, we have studied the meanings of the composition and the changes of the organization of Facade to analyze the organizing techniques in Pasad in a small commercial construction which designers planned as material. We have also investigated the organizing techniques of surface by examining and analyzing the elements of Facade organizing techniques, i.e. its form, decoration, material, pattern and color.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.197-206
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• 2012

This study focuses on comparative study of the representation of 'traditionality' in Asian hotel guest rooms. Hotel can be a concentration of the country's culture and tradition and provide unique experience to guests through its space, decoration, and material. However, most hotels in Korea are lack of a strong identity based on the Korean culture and tradition, due to adoptation of the western hotel styles without any criticism. The purpose of this study was to investigate the expression methods of the traditionality in Asian hotel guest rooms to provide design guideline to enhance identity of hotel guest rooms in Korea. Through analysis of the previous researches, criteria of the three design application methods and the five design elements were defined to analyze the representation of the traditonality. Design application methods were categorized as "Original form", "Partial adoption", and "Metaphor". Five design elements include "Shape", "Material", "Color", "Object", and "Pattern". Thirty nine Asian hotels containing the traditional design elements were explored in the study. In result, design application methods in Korea used all three methods equally, while other Asian countries used mainly the Partial adoption and Metaphor methods to express their traditions rather than the Original form method. All five deign elements were mostly used in case of the Original form methods, and two or three elements among five elements were used for the Partial adoption and Metaphor methods. The traditional representation of hotel guest rooms in Korea, reflecting current thinking, living pattern and culture, will be a solution for the new hotel design as well as elevation of Korea's status to a higher level.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.140-147
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• 2010

The objectives of this study are, first to define the concept of restaurant total coordination and establish its components as a design strategy for planning and managing all elements comprising a restaurant, and second, to survey the total coordination of Japanese restaurants in foreign countries and examine how traditionality, which is an element for globalizing Japanese restaurants, is expressed. This study was conducted through literature review for defining the concept of restaurant total coordination and extracting its components and a field survey for analyzing the current state of restaurant total coordination and traditionality expression methods. The results of this study are as follows. First, Japanese restaurants categorized into Type A with relatively high traditionality expression(3.3 or higher) were 25% of the surveyed restaurants. These restaurants showed the traditional characteristics of Japanese style as they are without contemporary adaptation for all components of restaurant. Second, 41.7% of the restaurants were categorized into Type B with traditionality expression between 1.7 and 3.3. They were mostly popular casual restaurants at which people can enjoy Japanese food comfortably. In visual and spatial design elements, traditional and contemporary styles appeared in the equal percentage, and decoration, table setting and food design were styled according to Japanese traditions. Third, 4 cases(33.3%) were categorized into Type C with traditionality expression below 1.7. Because they were fine dining restaurants that sold high priced dishes, formality and consistency were also high. Through all design elements including visual, spatial, table setting and food design elements, elegant and simple contemporary images were dominant. The results of this study will be used as basic materials to establish the concept of total coordination that views the visual, spatial, table setting and food design elements comprising a restaurant, which were approached separately in previous studies on restaurants, together from the viewpoint of integrative deigns, and to make design strategies for globalizing Korean restaurants based on Japanese restaurant cases.