• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2003년도 가을학술발표대회
• /
• pp.20-21
• /
• 2003

• 한국의상디자인학회지
• /
• 제12권2호
• /
• pp.41-54
• /
• 2010

This paper aims at studying about spatial structures and formative characteristics of Lucy Orta's fashion design. Her works utilizes the thought related on the architectural space that has been revealed sharp change of the paradigm since the late of 20th century. Lucy Orta against individualism of the urban life, and manufactures portable and moving housing and multi-functional fashion that is paved with individual rest unit and give a sense of security through simple combination among the units. Besides, she has development multiple portable clothing and equipments for the rescuethrough exploiting pioneering high technology. The results of this study can be summarized as the following: 1) refuge habitant creates individual space for physical and mental protection from the urban surrounding, 2) nomadic dwelling shows multi-functional fashion space fit for digital nomads' life style aims at continuous movement, 3) connective nexus and urban life guard are comprise of detachable individual unit in public space for remaking of the bonds, affinity, and relationship, and the complex of rescue clothing and equipments for meeting a challenge of the threat about human existence from uncertain environmental change in the future.

• 한국환경과학회지
• /
• 제25권10호
• /
• pp.1427-1432
• /
• 2016

In order to preserve the traditional garden landscape and maintain the harmony between traditional and modern gardens of Inner Mongolia, this study theoretically examined the creation and background elements of Inner Mongolia, and reviewed the nature of the people and the traditional design elements. The results of this study show that: 1) the background factor of traditional garden landscapes was nomadic life in plains, which was a lifestyle of adapting to Mother Nature and promoting mutual existence and survival; 2) Shamanism impacted the views of nature among the ancient Inner Mongolian people; 3) traditional garden landscapes could be categorized into landscapes centered around Mother Nature during the Huns era and those centered around the symbolic landscape during the Genghis Khan era; 4) aesthetic elements of traditional garden landscapes included traditional colors of red, yellow, sky-blue, milky-white, and traditional patterns of external knot, cloud, bull horn, and plain grass. These findings may provide basic data for the creation background and characteristics of traditional garden landscape of Inner Mongolia in the application of the green space design of Inner Mongolia.

• 복식
• /
• 제58권6호
• /
• pp.124-144
• /
• 2008

This study is taken as the part of the cultural research on the Kaspian coastal region, which has a great significance as the start of human civilization and in the history of cultural exchange. This study is focused on the Achaemenid dynasty of the great Persian Empire that Iranians have established on the Parsa region, south of Iran on 6-4th century B.C. This research limits to the tribute-relief illustrated on the stairs of Apadana Palace in Persepolis during the age of Achaemenid dynasty. The objective of this research is classify and analyze Persians and its neighboring tribes, their dresses and the detailed elements of the dresses to complete the typology of the dresses in that period and use this to categorize the features of nomadic and agricultural tribes of costal areas of the Mediterranean Sea to Northern India and study the cultural exchange and its effects. Furthermore, we aim to use the above typology to revise the typology of the Korean traditional dresses that were formerly just sorted as a type of coat-trousers that classified as a nomadian Scythian dress type. The results of above analysis are as follows: The clothing of many tribes living in the coastal areas of Mediterranean Sea to the Northern India in the Achaemenid dynasty of Persia on 6th century B.C. shows that the typology of the dressings have close relationship with the region they live in. Such typology is displayed differently from tribes east and west of Iran. The tribes west of Iran showed characteristics of an agricultural tribe and the tribes east of Iran displayed features of a nomadic tribe. In addition, uniformed styles of dressing were displayed amongst many tribes sharing a common lineage. Such inference came from the fact that similar styles of dressings were identified not only in tribes east of Iran but also in tribes west of Iran.

• 복식
• /
• 제56권7호
• /
• pp.85-100
• /
• 2006

Fashion related with architectural paradigms includes concept of the space utilization beyond fashions field. Such a fashions concept is able to enlarge as a spatial system like architecture. Interface between fashion and architecture is originated in thinking of the rhizome, which understands fashions field within various relationships between environment of the city and fashion. The existing construction systems of fashion is not sufficient in fashions roles as the space that wearing changing body continuously. Consequently, accommodation of architectural paradigms in fashion depends on new recognition about function and space. Architectural paradigms expressed in fashion since 1990s was classified as follows: 1 modular system of Le Corbusier & Archigram, 2 deconstruction, 3 reconstruction, 4 nomadic architecture. Such a paradigms has been easy to combination among fashion and architecture and furniture. Deconstruction and reconstruction fashion revealed process toward completion, and reappeared architectural consideration about process of change toward incompletion. There are acknowledged formative characteristics as follows: mobility, changeability, multi-function, mutual combinative, openness, and fluidity. This study shows that fashion is essential device determined city environment construction in 21C, and revels that fashion has been highlighted as a presage of new spatial economy received architectural construction systems.

• 한국의상디자인학회지
• /
• 제20권1호
• /
• pp.61-77
• /
• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• 복식
• /
• 제65권4호
• /
• pp.124-136
• /
• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• 복식
• /
• 제29권
• /
• pp.197-208
• /
• 1996

Skins were manufactured in Korea since the early prehistoric period and were manufac-tured and used from the period of the three Kingdoms and Koryo through the Chosun era. These materials were developed into skins through a tradition of thousand years, . In Korea the Orient Culture of nomadic tribes and Mesopotamia Culture of stock-farming come together and developed these original woolen fabrics and skins culture. In this study the characteristics of Korean skins will be disscussed from the literature survey of the relevant references researched remains and pictures. During the Chosun period skins were fre-quently manufactured and used. Vsarious skins were used as necessites of life such as cloth-ing shoes bedclothes and so on.

• 한국실내디자인학회논문집
• /
• 제41호
• /
• pp.163-171
• /
• 2003

The scope of the study involves comparison of theaters in the west and those in the east, which experienced almost no exchange between them in the past, due to diverse restrains including a geographical one. The focus was put on the two types of these theaters whose similarities are meager historically and technologically, and whose link was not verified yet. However, similarities ,if any, will be identified among characteristics of these theaters so that the links such as liberalism, nomadic and participatory nature, non-linear space, ambivalence, mobile space-which are modern characteristics- could be connected from the past to the present, and those modern characteristics can be studied as a process where they could be sensed from the past structure or from each different target.

• 한국조경학회지
• /
• 제36권4호
• /
• pp.15-26
• /
• 2008

본 연구의 목적은 시간의 흐름에 따라 생성되는 사건을 매개체로 하여 골프코스를 해석하고자 하는 것이다. 골프경기를 하면서 티샷, 두 번째 샷, 피팅, 홀아웃과 같은 다양한 사건이 발생하는데, 이러한 사건들을 바탕으로 버디, 파, 보기, 더블보기와 같은 준원인에 의한 사건의 계열화가 발생한다. 그러나 이러한 사건의 계열화는 항상 예측할 수 없는 방향으로 진행된다. 이러한 예측 불가능한 사건의 발생은 공간의 특성을 변화시키는 동시에 골퍼에게는 잊을 수 없는 체험을 제공한다. 질 들뢰즈는 공간의 특성을 홈 패인 공간과 매끈한 공간으로 구분하고 있다. 홈 패인 공간이란 차원적이고 계산되어지고 중심을 가지는 원거리적 공간으로 정주민적 공간의 특성을 지니는 공간이며, 매끈한 공간은 방향적이고 탈중심적이며 촉지적인 근거리적 공간으로 유목민적 공간의 특성을 지니는 공간을 말한다. 본 연구는 이러한 매끈한 공간과 홈 패인 공간을 개념적 기준으로 하여 공간의 특성을 분석하였다. 골프코스는 본래 인공적으로 설계된 매끈한 공간의 특성을 지니고 있으나, 골프경기가 진행되면서 사건생성적인 공간으로 변모한다. 즉, 동적이고 변화무쌍하며, 스케일이 장소에 따라 가변화되는 매끈한 공간으로 탈바꿈하게 된다. 경기를 진행함에 따라 이러한 공간적 특성의 반전은 예측할 수 없는 다양한 사건을 통하여 반복된다. 또한, 경기의 주체인 골퍼는 정위-중심설정-한정-순치라는 일련의 장소만들기 과정을 통하여 골프코스와의 역동적, 유기적 맞물림을 통하여 현상학적 체험과정을 느끼게 된다.