• 한국주거학회:학술대회논문집
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• 한국주거학회 1991년도 학술발표대회논문집
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• pp.29-40
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• 1991

The purpose of this study is invested, recorded about traditional dwelling space, and there is to find out possibilites on the context of the inheritance of traditional life through analzing about life content and space. The results of this study are as follows: 1) Kwang Duk vililage is the typical traditional town where the confucian view of life still affects on overall housing life. 2) The pattern of layout is mainly 'ㅡ' and 'ㄱ' shaped type. In the plane and structural form, the original form is, though some parts have changed, maintained. 3) According to the analysis of transformation state of dwelling space, the category of transformation is summerized as follow ; changes of room function, increase and decrease of annex, and room size by changes of family structure, life style, farming operation style.

• 대한가정학회지
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• 제49권3호
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• pp.67-77
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• 2011

The purpose of this study was to clarify the symbolic meanings of the beautiful girls' character fashion in modern Japanese animations. This study investigated the currency and characteristics of the beautiful girls' characters from the 80's to the present. The fashion style of a beautiful girl's character was categorized into four styles: trendy style, adult style, Lolita style and fantasy style. These fashion styles were analyzed, and as a result, three symbolic meanings of the fashion style of a beautiful girl's character are discussed. Firstly, these occidentalized body styles represented idealized body images that are not traditionally Japanese. Secondly, the adult style (growth) represented coming out, i.e. the desires to develop from a child into an adult. Thirdly, the adult (transformation), Lolita and fantastic styles appealed to maniac consumers, having a "Moe" feeling.

• 복식
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• 제62권2호
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• pp.68-77
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• 2012

Hair style takes a large part in emphasizing to the appearance and the effect of image transformation with fashion to the modern people whose competition is appearance in 21 century. According to the development of mass media and the exchange of the life style. Image creation which correspond to T.P.O is needed and style-up is also required in modern costume, as the coordination for special day is routinized. In this study, the expression of a fine and organic line shown as a motive in Art Nouveau style's works is applied to style-up design and a new view sight to the style-up design through the art history is suggested with developing style-up design to satisfy the upgraded customer's requirements. The feminine beauty is appeared as a various image by applying style-up design from Art Nouveau style through this study. and the infinite possibility to the design development can be found with activated motive of Art Nouveau. These Art Nouveau trend will be a foundation to the inspiration of high artistic design and will be helpful to the aesthetic satisfaction of the elegance modern people. Therefore, I hope this study will be a fundamental data for creative development of hair design through the art history which may be forgetting.

• 한국CDE학회논문집
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• 제12권5호
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• pp.354-365
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• 2007

We present novel methods to generate a sequence of shapes that represents the pattern of morphological development or transformation of Bezier curves. The presented methods utilize the intrinsic geometric structures of a Bezier curve that are derived from rib and fan decomposition (RFD). Morphological development based on RFD shows a characteristic pattern of structural growth of a Bezier curve, which is the direct consequence of development path defined by fans. Morphological transformation based RFD utilizes development patterns of source and target curves to mimic the theory of evolutionary developmental biology: although the source and target curves are quite different in shapes, we can easily find similarities in their younger shapes, which makes it easier to set up feature correspondences for blending them. We also show that further controls on base transformation for intensity of feature blending, and extrapolation can compensate the immaturity of blended curves. We demonstrate the experimental results where transformation patterns are smoother and have unique geometric style that cannot be generated using conventional methods based on multi-linear blending.

• 한국의류학회지
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• 제5권2호
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• pp.1-12
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• 1981

Nous avons essaye, dans cette etude, de deceler les caracteristiques de la silhouette du style d'Empire en eclairant it la fois le processus de sa formation ai travers La Monarchie, La Republique, Le Directoire, Le Consulat et l'Empire. Nous avons souligne comme suit: En premier lieu, comme les caracteristiques generaux, la simp lification et la democratisation. En second lieu, comme celles de La Monarchie et de La Republique, la transformation renovatrice en forme grossiere du style cylindriforme de la mode d'epoque ancienne. En troisieme lieu, comme celles du Directoire, la formation de l'unite esthetique au haut degre et les lignes naturelles du corps. En quatrieme lieu, comme celles du Consulat et de l'Empire, l'achevement du style d'Empire d'ornement somptueux refletant l'autorite politique de l'Empereur.

• 헤리티지:역사와 과학
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• 제33권
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• pp.256-273
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• 2000

This thesis attempts to investigate the design of the bracket sets(eave-supporters) of Dapo-style architecture(multiple-bracket architecture) in order to discover the change and the characteristic of the Yon-Hwa-Hyong bracket sets. The external shape of eave-supporters has been evolved as following order: Kyo-Du-Hyong, Soe-Seo-Hyong, Cho-Gak-Soe-Seo-Hyong, and Yon-Hwa-Soe-Seo-Hyong. The internal shape has been developed as following order: Kyo-Du-Hyong. Cho-Gak-Hyong and Yon-Hwa-Hyong. Kyo-Du-Hyong represents the 17th century style and Yon-Hwa-Hyong has been used since the mid 18th century. Cho-Gak-Hyong signifies the transformation in the structural and designing role of column section and middle section and there appears a unified aspect in Yon-Hwa-Hyong. The transformation from Kyo-Du-Hyong towards Yon-Hwa-Hyong suggests that this is an intention of symbolizing the Buddhist teachings inside and outside of the eave-supporters. The purpose of this change establishes the Buddhist land.

• 한국정보과학회논문지:컴퓨팅의 실제 및 레터
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• 제14권5호
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• pp.522-526
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• 2008

본 논문에서는 일반적인 비디오의 모션을 만화와 같은 스타일로 자동으로 변환해주는 시스템을 제안한다. 이 시스템은 비디오의 물리적인 상황에 맞게 자연스러운 변형을 손쉽게 적용할 수 있는 새로운 비디오의 만화화 방법이다. 선택된 비디오 오브젝트의 운동량, 운동방향, 힘과 같은 물리적인 요인들을 분석하여 물리적으로 타당한 변형을 적용함으로써 자연스러운 효과를 적용한다는 것이 장점이다. 전통적인 애니메이션에서 사용하는 몇 가지 전형적인 디포메이션 시나리오를 구축하고 사용자가 손쉽게 원하는 효과를 선택하여 적용한다. 타이밍 컨트롤과 카툰 렌더링을 사용하여 최종적으로 역동적이고 만화 같은 비디오를 만들어 낸다.

• 대한가정학회지
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• 제25권1호
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• pp.19-34
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• 1987

This thesis is for the study of hair style and consciousness concerning Korean awris hairs. Our nation had been originally considered to be a people without decorating their hairs. The adults however used a bundle of hair which was twirled, and the bachelors wore original hair befor wiman chosun in B.C. 194. Since then this twirled bundle of hair had been consistently used until the end of the chosun period from the Three-Kingdom period, except Mongolian hair style which was used for one hund-red years during the Won's oppression period at the time of Koryo. The bachelor's hair style not being adorned was developed into that of twirled bundle of hair which was used for on the Three-Kingdom period to the Koryo period, but this was also transformed into the current hair style ？ mainly to the decree of short-cut hair style in 1895 and the prevolent western clothes. The origin of meins hair style in Korea was a hair without decoration which was same as that of Ski-tie people in Western country, but our style was different from that of Manju and Mongolian people who have same kinship relationshup. And our nation was greatly influenced by the Chinese culture in view of the Twin-Knats style of the unmarried. Our people's consciousness uwderlying in hairs shows resped for seniors, standard between dults and adolescents, magics, and desine for ornaments.

• 한국BIM학회 논문집
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• 제12권1호
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• pp.55-61
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• 2022

Recently, demand for designing own space is increasing as the rapid growth of home furnishing market. However, there is a limitation that it is not easy to compare the style between before construction view and after view. This study aims to translate real image into another style with GAN model learned with interior images. To implement this, first we established style criteria and collected modern, natural, and classic style images, and experimented with ResNet, UNet, Gradient penalty concept to CycleGAN algorithm. As a result of training, model recognize common indoor image elements, such as floor, wall, and furniture, and suitable color, material was converted according to interior style. On the other hand, the form of furniture, ornaments, and detailed pattern expressions are difficult to be recognized by CycleGAN model, and the accuracy lacked. Although UNet converted images more radically than ResNet, it was more stained. The GAN algorithm allowed us to represent results within 2 seconds. Through this, it is possible to quickly and easily visualize and compare the front and after the interior space style to be constructed. Furthermore, this GAN will be available to use in the design rendering include interior.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.280-288
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on tradition; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: TM style, in which modernity was principal, usually did transformation and reinterpretation of traditionality. As for the design attributes of the styles, the TM style, they processed a majority of the spatial components as modern or reinterpretation of traditionality, which would be easily considered to be modern without careful observation, and applied a small amount of direct reproduction or transformation, which gives out a direct hint at traditionality, to attract more attention. Many of the spatial components did not express traditionality directly, expressing it indirectly or metaphorically. Traditionality was expressed in a small number of the spatial components, thus serving as a focus or impact point in the given space.