• Journal of architectural history
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• v.7 no.3 s.16
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• pp.151-170
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• 1998

This study is about Le Corbusier's early years of loarning and training at La Chaux-de-Fonds. It is an attempt to show how Le Corbusier's groundwork was laid which characterize his work throughout the life. Charles Edouard Jeanneret was trained as a watch engraver and wished to be a painter. C. L'Eplattenier was to play a decisive role in shaping the young introspective boy's future. He encouraged Jeanneret's habit of the close study and observation of nature. Jeanneret was not the product of an established school, but instead made the unusual choice of educating himself. He found two indispensible sources of inspiration in study the past and in contemplating nature. His four years of self-education consisted of extensive reading, summer travels and winter layovers in larger cities-Vienna, Paris, Berlin-while sketching in museums or apprenticing local architects-Pellet, Behrens-. All these impressions then blended together to become part of a comprehensive source book of knowledge and imagination of the later Le Corbusier. A largely self-taught man, he never stopped making notes, drawing and writing, always aspiring to a clearer understanding of the meaning and underlying principles of objects and architecture. Jeanneret's five villas in La Chaux-de-Fonds are barometers which show the sequences of his development and change as an architect. In 1917, being thirty, he uprooted himself from his hometown to get a wider range of opportunities and moved to Paris. By that time Jeanneret was almost ready to blossom into Le Corbusier It was during this formative years of his life that Le Corbusier established the working method, mind-set and philosophical basis that determined the course of an architect in the making.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.167-181
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• 2018

In modern society, men are selecting dress based on physical features as well as individual taste. Through this concern with appearance, new descriptive words have appeared from time to time. Therefore this study aimed to analyze the type of image style expressed in the Paris Men's Fashion Collection during the period of 2001 S/S collections~2010 F/W collections. This study used Frequency and Chi-square tests through SPSS 12.0 program for the analysis of a total of the 1,357 materials shown from nine designers. The results were as follows. As a result of examining the image style according to chronology and season by frequency and the tendency of design works by chi-square test, in the tendency of the image style by chronology, the style emphasizing a sexy and manly appearance is preferred through the tendency that Homme Fataleism has been continually released in foreign men's fashion collections for about ten years. In the tendency of the image style by season, the image style of the Homme Fataleism was highly published in SS and FW season except for SS in 2004 and 2008. In the tendency of design works by chronology and season, the H-silhouette was highly preferred for about a decade. In color, the light brown group was frequently used until 2008 while gray has mainly been of use since 2009.

• Fashion & Textile Research Journal
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• v.19 no.2
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• pp.121-133
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• 2017

This study investigates the design relation between shoulder line and sleeve line for designing bulky silhouettes as well as examines the trend sensitivity and design difference of each city through a comparison of the four cities collection (Paris, Milan, London, and New York). The results are as follows. In the four major fashion capitals, the rates of all-season coats were higher in 2014/15 F/W than those in the 2013/14 F/W season. At the 2014/15 F/W season, the proportion of the bulky silhouette coat, (including the fur and cape coat) increased and confirmed the bulky silhouette fashion trend. Second, an examining of the proportion of bulky silhouette coats manufactured by leading brands in major cities, indicated that London brands readily followed the trend of bulky silhouette coats when compared to other cities. This trend was also accepted by most brands in New York. Most brands in London and New York are highly compliant with the latest fashion trends. Third, the drop shoulder design was mostly presented in the shoulder pit of the bulky coat. In case of the sleeve, the shape of the jar was kept wide at the elbow line and made narrower toward the beak in most bulky silhouette coats. The importance of shoulder and sleeve design is clearly highlighted in the bulky silhouette coat. Fourth, detail design trends were different according to type of sleeve and shoulder fit. The results show the relationship between shoulder and sleeve design.

• Journal of the Korean Vacuum Society
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• v.15 no.2
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• pp.209-215
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• 2006

We investigated the optical property and the electronic subband structure of InAs quantum dots in an InAsGa/GaAs well structure utilizing photoluminescence (PL), PL excitation (PLE) and near infrared transmission spectroscopy. From transmission and PLE spectra, we found three bound states in the InAs quantum dot and two bound states in InGaAs/GaAs quantum well, and correlated to the results of intersubband transitions observed in photocurrent spectrum.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.501-512
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• 2015

This study was to consider and analyze of fashion window display design at Printemps department store in Paris, France which has tried continuously space presentations through the sensibility and differentiated strategy. The framework for analysis of this study was established by related precedent studies. Data collection was done by searching related specialty publications and website of Printemps department store, and the results of this study were drawn through qualitative analysis of experts' group. The results are as follows. Printemps department store set up presentation types of fashion window display design's themes that have been developed by the method of display presentation such as symbolic, ambience, surrealistic, realistic, and information. The most frequently used presentation development techniques applied in windows' VP of Printemps were the 'transferal of daily space', 'transferal of unexpected space', 'exaggeration of animal & plant', and 'descriptive narrative scene.' In addition, the display theme components such as the materials that can be easily accessible in everyday life, unique directing props, the memory or childhood, the image of animal or plant, and lighting etc. We found that the major colors of window display design at Printemps department store were purple, blue and black during the period from 2009 to 2014.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.6
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• pp.84-95
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• 2001

The purpose of this study is to investigate how the 6 entry plans of Seoul Park in Paris were representing the tradition by comparing and reviewing them. Entry plans proposed for Seoul Park revealed different approaches of representing traditional gardens. Through scrutinizing these plans, some similar and different aspects among them could be found out. In order to find out those aspects, the entry plans were analysed and compared into several categories such as design concepts, programs and spatial components. The main concern for analysing the entry plans focused on the issue of are presentation. Representing a Korean garden into Seoul Park depends on the manner of a representation, their objets and media. Objects are related to the contents. The contents can have various themes, events, places beyond the garedn. Meids is related to represent Korean tradition with what implement. The manner of a representation can be divided into three types; a direct representation, an abstract(metaphoric) representation and a destructive representation. We found the characteristics through analysing the entry plans that 1) Korean terrain, Korean thoughts, narrative promenade, past/present/Korea/Seoul, story telling through the Korea traditional fence were used as design concepts. 2) Traditional elements such as a traditional pavilion, fence, madang, hwagye, gate were generally chosen as essential elements for representing the Korean tradition. 3) Direct representations were ore broadly used than abstract and destructive representation as the manner of a representation. and 4) The entry plans show us a variety of possibilities of representing traditional gardens. Abstract and destructive representations of tradition can be found out in th several plans compared with other existing ocean gardens made in foreign countries. In establishing urban parks and ordinary landscapes, those strategies can be alternatives to represent the identity of Korea by reconciling tradition with invention.

• Pediatric Gastroenterology, Hepatology & Nutrition
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• v.23 no.2
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• pp.174-179
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• 2020

We present an 8 years old girl who was diagnosed at 6 months of age of Progressive Familial Intrahepatic Cholestasis type 2. Although liver transplantation (LT) was classically considered curative for these patients, cholestasis recurrence with normal gamma-glutamyl transpeptidase (GGT), mediated by anti-bile salt export pump (BSEP) antibodies after LT (auto-antibody Induced BSEP Deficiency, AIBD) has been recently reported. Our patient underwent LT at 14 months. During her evolution, patient presented three episodes of acute rejection. Seven years after the LT, the patient presented pruritus with cholestasis and elevation of liver enzymes with persistent normal GGT. Liver biopsy showed intrahepatic cholestasis and giant-cell transformation with very low BSEP activity. Auto-antibodies against BSEP were detected therefore an AIBD was diagnosed. She was treated with Rituximab and immunoadsorption with resolution of the AIBD. As a complication of the treatment she developed a pneumocystis infection successfully treated with corticoids, cotrimoxazol and anidulafungin.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.