• 건축역사연구
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• 제24권1호
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• pp.61-70
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• 2015

This is a study on the construction of the Heungcheon-Temple. The results are follows. 1) The Heungcheon-Temple was anticipated to be the Jeongneung. However, when completed, the Heungcheon-Temple was symbolized Buddhism; moreover, there was a stupa enshrined sarira. The stupa was a land mark in Hanyang. While king Sejong repaired the stupa, it disappeared during the regin of King Jungjong. Before it disappeared the stupa signified a Buddhist event and a rite of good fortune. 2) The stupa was constructed using a double-frame, and there was a stone-stupa in an octagonal multi-layer temple. This single location consisted of a sarira space and a worship space. 3) Buddhist Relic(Sarira) worship was to witness holiness and therefore reics could be moved according to need. It appeared as though Buddhist Relic worship occurred in Southeast Asia. 4) The Heungcheon-Temple stupa was considered a new and superior architectural-symbol to comfort people and recognize the new order of Ming and neo-Confucianism. Therefore, the stupa was a good alternative to politics, religion, and external relations during the early Joseon era.

• 한국의류학회지
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• 제11권2호
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• pp.37-55
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• 1987

Pasul (Herein after referred to Korean-styled Pasul) to cover up the secrets, which has originated from Bool-an original mode of clothes is to put around a belt with a kind of towel. With the development of culture, it has been handed down the parts of ornamental and symbolic functions, losted its particular and original one. In general, we cannot exactly show when the Pasul has been used as a ritual dress, but, dare to maintain in this thesis, which has been used in Koguryu era. This thesis is summarized as follows: 1. The Bool, which is the first dress of all has its origin in the prehistory, and gradually has developed to a ceremonial dress with the help of man's intelligence. 2. Korean-styled Pasul has continuously been handed down from generation to generation (to adding up, from Koguryu era to Yi dynasty). Today, the color of the Pasul is known as a pink one, but I, herein, would like to refer that king Kojong in Yi dynasty had on a yellow-colored Pasul. 3. With becoming to be a form of ceremonial dress, the Bool has become to be complicated in style. For example, in the Koguryu era, the style is in the form of 'U,' and in Koryu era, it is the echelon formation tinting a pink color and weaving a mountain and flare shaped designs, and its dimension, the upper is one ja (a ja means a unit of length, 0.33 M), the lower, two ja, its length three ja. The Bool of Yi dynasty tints a pink color, and weaves a seaweeds, rices, axes and shaped designs. The Pasul which King Kojong in Yi dynasty put in, was a yellow-colored one weaving dragons and fire shaped design. 4. The Pasul is a ceremonial dress used a ritual or court dress. The purposes of wearing it are to distinguish the upper from the lower classes, to make them abide by regulations, and to respect courtesy. Accordingly, the Pasul. as the dress for special occassions does make us review the old and learn the new. 5. The reason that Pasul has been handed down are: 1) richness and fecundity. 2) symbol mark to represent classicalism. 3) to symbolize the authority by putting on it, for it is necessary to distinguish the upper from the lower classes along with the class consciousness in society. 6. On the basis of the study, the Pasul transition is to be handed down the function of the ornament and symbol. after losted its original functions, with the development of culture.

• 디자인학연구
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• 제18권4호
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• pp.5-14
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• 2005

국내 각 지방자치단체의 커뮤니티아이덴티티 (community identity) 프로그램은 지역 활성화를 중요한 목적으로 한다. 커뮤니티아이덴티티는 타 지자체들과 차별화 된 이미지를 확립하고 동시에 지역주민의 애향심과 소속감을 높일 수 있는 매우 효과적인 방법 중 하나이다. 커뮤니티아이덴티티 외에도 지방자치단체의 아이덴티티를 형성하는 요소로서 꽃, 새, 동물 등의 각 지자체 상징물이나 그 지역과 연고가 있는 인물, 전통, 특산물 등을 시각화한 캐릭터가 있다. 최근에는 시티브랜드와 같은 마케팅지향의 브랜드 계획, 지역이벤트 등 다양한 프로그램들을 도입하고 있다. 본 연구는 현재 도입된 국내 지방자치단체 커뮤니티아이덴티티의 시각요소 중 심벌마크, 로고타입, 색상 등의 가장 기본적인 요소와 각 지자체의 상징물, 캐릭터의 시각요소 현황을 조사 분석하였다. 그 결과 각 지방자치단체의 커뮤니티아이덴티티 및 기타 디자인요소들의 차별성이 부족하고 여러 시각 요소들 간의 일관성도 결여된 것으로 나타났다. 지방자치단체의 차별화 된 이미지 형성을 위해서는 지역이 갖고 있는 보다 특색 있고 다양한 소재 개발과 커뮤니티아이덴티티를 중심으로 여러 시각요소들의 일관성과 상호작용을 통한 시너지효과를 유도해야 할 것이다.

• 한국의류학회지
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• 제8권3호
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• pp.19-30
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• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• 패션비즈니스
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• 제25권4호
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• pp.61-78
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• 2021

Gianni Versace is one of the most influential Italian designers between the 1980s and 1990s and a representative person to add sexiness and splendour to Italian fashion. This study aimed to analyze the design identity that resulted in the successful handover to Donatella Versace and to review how effectively differentiated and unique heritage elements of Versace were transferred and operated. Literature reviews were performed to find Gianni Versace's design identity and archive. The scope of this study was Donatella's collection from 2018 to 2020. In particular, Signature, the most remarkable design identity of luxury brands with a visual identity that includes the mark, logo and symbol and design elements such as the item, colour, materials, details, etc., were the special focus. In this study, the elements of the visual identity of the signature were classified with the logo, icon, silhouette, materials, patterns, colours, and changes in details that were applied with the uniqueness and philosophy of the differentiated brand. Donatella Versace empathized with Versace's heritage as the brand heritage recalling Versace's honour in the 1990s and reproduced his honour again by reinterpretation of Versace's design images. Donatella is considered an excellent creative director who leads the brand by keeping the heritage and applying the trends of the times. This study as a case study of Versace has the meaning that Versace has maintained the brand identity starting from Gianni Versace as the first generation and successful takeover after the change of directors upon recreation to meet the modern times.

• Asia Marketing Journal
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• 제20권1호
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• pp.23-48
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• 2018

SK group has been a pioneer in overall brand management and, more recently, in CSR-imbedded brand management. SK vision of "improving itself to give greater happiness to all of its customers" and the symbol mark of "Wings of Happiness" are some good examples of integrating distinct brand identities of various member companies. After impressive growth and expansions into diverse business areas, SK group is ranked as the third largest company based on asset amounts according to the Fair Trade Commission of Korea, only after Samsung and Hyundai Motor groups. SK brand management can be analyzed, using the framework of 4 stages - 'infrastructure', 'planning', 'doing', and 'seeing' stages. In order to secure 'infrastructure' of brand management system, SK has invested huge resources to the 'SK BMS' (SK Brand Management System). At the 'planning' stage, the most important task of SK like other Korean business groups is perhaps to adopt a well-organized 'brand identity (BI) system' which may consolidate brand values of individual member companies. In actuality, SK BI consists of Customer Happiness located at the center and 3 other elements of Pride, Professionalism, and Customer-orientation. At the 'doing' stage, the slogan of 'OK! SK' and the logo of 'Wings of Happiness' have been placed at the core of the SK group brand building programs. SK adopts the principle of 'independent yet united', pinpointing that each member company independently works for its business performance but it is, at the same time, encouraged to integrate its capabilities for the SK group brand. In addition, SK has sought 'shared growth' with business partners for happiness for all the members in the society. 'Social Contribution Philosophy' based on SK value of 'creation of greater happiness' is again one of the most important guidelines for CSR (corporate social responsibility) at the doing stage. At the seeing stage, SK regularly evaluates its branding programs. SK has shown some very impressive achievements in brand management: (1) a core identity of 'Customer Happiness' participating member companies may share, (2) harmonious relationships between the group brand management office and brand management divisions of member companies, and (3) consistency-keeping in brand management over time. However, there remain two major challenges: (1) globalization of SK and (2) reinforcing sustainable superiority over not only Korean rivals but also global ones.

• 한국조경학회지
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• 제49권4호
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• pp.1-14
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• 2021

이 연구는 독일 베를린에 조성된 예술정원 작품인 「Das Dritte Land(제3의 자연)」를 사례로 한반도 자생식물을 이용한 해외에 정원을 조성하는 기법을 고찰한 연구이다. 한국의 정원 작가들이 세계에서 인정받고 있고, 한국정원의 세계화를 계획하고 있는 가운데, 한국의 정원가가 활동력을 넓혀갈 수 있는 현실적인 정보를 공유하고, 한반도 자생식물의 활용과 가치를 재발견하는 것을 목적으로 한다. 이 작품은 베를린 장벽 붕괴 30주년을 기념하는 기획사업의 일환으로 시작되었다. 인왕제색도를 모티브로 우리나라의 산수화적 풍경을 구현하고자 백두대간의 지리적 형태를 검은 기암괴석으로 재현하고, 한반도의 자생화를 베를린으로 가져가 정원을 조성했다. 분단 이후 통합될 수 없는 한반도에 생물군들이 어우러져 만개하는 초현실적 바이오톱(biotope) 유토피아(utopia)이다. 본 연구는 남과 북의 화합과 어우러짐의 상징 주체인 한반도의 자생화를 대상으로, 식물 조사 분석, 운반 및 안정화, 식재계획, 조성, 모니터링의 일련의 과정을 고찰하였다. 한반도 자생식물이 해외의 정원에서 해석되는 의미는 한반도의 생태계를 하나로 묶는 메시지로 작용하였다. 독일의 분단 경계지에서 한반도의 어린식물이 뿌리내리고 꽃을 피우고 씨앗이 번져가는 과정은 한반도 통일의 염원을 은유적으로 전달한다. 정원 공간에서 이루어지는 다양한 예술 프로그램들은 남북의 문화적인 대화와 소통의 기반을 만들어가고 있음을 시사한다. 또한 해외에 정원을 조성하는 과정을 통해 얻을 수 있는 시사점은 식물 연구 기관의 협조가 식물의 이송과 생명유지에 중요한 역할을 했다는 것과 한국정원가의 해외 진출은 우리나라 정원 문화의 확산에 중요한 역할을 한다.