• Journal of the Korean housing association
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• v.17 no.6
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• pp.91-98
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• 2006

The stage for Tadao Ando's architectural works is not only in Japan but extends to many countries around the world. His creations are not limited to the world of architecture, but are widely acclaimed supported by public people as well. Why Tadao Ando's works are acknowledged and acclaimed so extensively? Japanese traditional elements used in the his works makes it so. Tadao Ando argued intuition and insanity which were deprived by modernism could recover with locality and it's historic elements laid importance to the self. To realize that, it is necessary the regeneration of landscape which was based on the site and self-reflection must accomplished with the nature. So as to regeneration of landscape, he used Japanese Landscape-gardening and make the nature condensed. With the su-ki, he made the architectural elements simple. And with the Japanese detoured circulation, he made deep and various space. In that way, he intended the nature which is changed with his idea experienced the way of yu-gen.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.1
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• pp.41-48
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• 2010

A house is basic unit of human being living space and it reflects an occupation, family relation, a life style and sense of value of resident. The purpose of this study was to research the continuity of traditional elements and contemporary change of Japanese houses by field study and literature research. The subject of this study was sixteen houses of Miyashiro, Saitama pref. in Japan. The results of this study are as follow as. First, the traditional elements of contemporary Japanese houses are tatami floor room, tsuzukima, zashiki, dokonoma, butsudan, amado. Second, the tatami is symbol of Japanese living space. Wasizus maintains a traditional characteristic, but it is developed and fixed properly change in contemporary life. Third, the traditional elements of Japanese houses are continuing in the modern houses, and they are continuously changed the feature from recreate. It can be a connection of a hereditary factor of residential culture. Four, the continuity of modern change and traditional element of the Japanese houses can be understood the change of the structural and spatial responding method to accommodates a life.

• Korean Institute of Interior Design Journal
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• no.27
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• pp.43-50
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• 2001

This study examines how various elements characteristic of the traditional Japanese architecture are applied to contemporary architectural designs in japan. The issue of how to incorporate cultural tradition into architectural design has become one of central questions cast on modern architects. In this sense, the Japanese contemporary architecture has often been touted as infusing Japanese traditional elements into modern artifacts both functionally and aesthetically. That is, while Japanese architecture encompasses the essentials of Western modern techniques and styles, it obviously embodies Japanese tradition. Through the examination of various contemporary buildings in Japan, this study specifically explores how the vernacular forms and elements unique to Japan are reinterpreted and reinvigorated in contemporary architectural designs.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.39-52
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• 2004

The purpose of this comparative study what is the way to express difference fashion design between Japanese fashion designers and Western fashion designers in the 1990s. The design data were 422 pictures of contemporary fashion designs which represented the Japanism style design from fashion collections and analyzed by literature study and classification categories. The results were as follows : 1) Early general Japanism expression was directly borrowed from traditional fashion design elements and has changed indirectly with fashion trend. 2) Japanese fashion designers have used color, fabric, and pattern than shape to express Japanese traditional images. 3) Western fashion designers have directly borrowed aesthetic elements of Kimono design, that is, layering. bending, neck-line, sleeve, and traditional Japanese men's wear to express Japanism.

• 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.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.17-27
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• 2007

The goal of the study was to research how the japanese fashion effects on the japanese fashion's current. This study was processed by the 'wabi', 'sabi', 'tsu', and 'iki' which were the foundation and core of the japanese traditional culture. This study also investigated the japanese style to help the recognizing of traditional design which needed for internationalization and informational periods. The review of related literature is presented under the following headings : (a) japanese culture, (b) japanese beauty, (c) japanese style, (d) japanese fashion designer. Conclusively, Japan complete unique design of world by on the basis of own tradition and beauty of japan which were revealed on the their common daily life. So To help there cognizing of traditional design which needed for internationalization and informational periods, fashion designer of the world must research the meaning of the trend and motive power of the world fashion, base on the cultural back ground of their country. And for this, the grounding educational curriculums for fashion designer include the process which can promote awareness of their country's culture, tradition, and beauty.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2001.05a
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• pp.86-89
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• 2001

Popular in the 1990s, Western Minimalism declined in popularity in the end of the century while the Oriental Mysticism and the Oriental Minimalism called “Zen Style” appeared. Fusion and Oriental Minimalism, both of which pursue traditional beauty and the essence of functionality and beauty, are combined with Japanese elements. As Oriental Minimalism is oriented towards Japan and China, we should consider the Japanese modernization process. Japan internationalized their own traditional elements after modernization. On the other hand, we only focus on tradition in a view of modernity, Japan developed their own culture whereas we followed the Western influences and trends after our culture and social structure were destroyed because of the civil war. Therefore, the aim of this paper is to find out the possibility of culture variety in interior design from the Japanese samples which modernized their culture in various sights. In other words, I researched and analyzed the expressive trends in Japanese Contemporary interior design, architecture and similarity and difference between Korea and Japan.

• Journal of architectural history
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• v.32 no.6
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• pp.23-32
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• 2023

Based on the experience of building 'Waegwan(倭館)' in Busan, Japanese paper wallpapering, the use of square rafters, and the installation of sliding windows were used in the construction of Joseon palaces from the 17th century onwards. Elements that could be applied through observation alone were applied first, and sliding windows that required precise skill acquisition were installed later. 'Yeongchang(影窓)', which refers to a sliding window that brightens an interior, has spread rapidly, and its types and structures have also become more diverse. Gradually, 'Yeongchang' came to refer only to additional windows installed by attaching grooves to the lintel of existing casement windows. The sliding window that is installed independently and acts as an interior partition was renamed 'Chujangja(推障子)'. Japanese architectural elements such as 'Yeongchang' and 'Chujangja' have become an element of traditional Korean architecture.

• Journal of Fashion Business
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• v.17 no.6
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• pp.158-175
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• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.749-759
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• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.