• Journal of the Korean housing association
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• v.26 no.3
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• pp.11-24
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• 2015

There have not been many debates on the subject of Korean architecture during the transformative period of Gae Wha Gi (開化期: Enlightenment Period of Korea), when Western-style buildings first appeared in Seoul. This study begins by finding and recording those buildings in Seoul that show the gradual adoption and appropriation of Western architectural elements at the turn of the 20th century. By exploring the confluence of two different architectural styles, this paper attempts to look carefully at the hybrid conditions that resulted from encounters between the Koreans and the Westerners in the late 19th and early 20th century. Beginning with discovering the first products of the Western architectural influence in Seoul, this study explores the uneasy co-existence between the traditional Korean architectural style, and the Western architectural style. This co-existence ultimately bred new building techniques, and interior layouts; the appearance of these hybrid buildings illustrate the gradual transition from the traditional way, in which users modified, combined and appropriated various elements from both styles. Analyzing historical documents and photos, this study tries to capture a detailed image of the period when the influence of the Western architecture had an unavoidable impact and brought change to the traditional architecture of Korea.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.94-101
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• 2008

The purpose of this study was to analyze the preference of living room furniture and to suggest Korean brand furniture design guideline. Subjects consisted of 171 residents aged up 20 years old in Seoul and Kyung-ki. area. The data were analyzed using the SPSS statistical package. The results of descriptive statistics, factor analysis, t-test and $x^2$-test are presented. The result of this study showed as fallows; 1) Livingroom funiture design with considering family life behavior were needed. 2) Modernizing traditional elements(motives and pattern) were preferred to duplicating traditional elements. 3) In furniture materials, easy to maintaining and cleaning and environmentally-sound materials as solid wood were highly appraised. Also, functional and harmonious furniture design with interior or other furniture were needed. So, modular-system furniture for livingroom would fulfill user's needs which are function, harmony and conciseness. 4) Elegant, easy, unique, functional, and simple design for livingroom were highly appraised. Considering these results, it is necessary to develop more on the modernized traditional furniture based on the various needs of users. These results provide a practical guideline for the development of the Korean brand design for livingroom furniture design.

• Journal of Fashion Business
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• v.23 no.5
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• pp.19-30
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• 2019

The aim of this study is to analyze the stage of image change in Korean fashion design in regards to the simulacre of Jean Baudrillard. The changing phases of Korean fashion design are as follows: First, the initial stage involved simple imitation, which replicated the original as much as possible, it expressed the basic composition of Hanbok, flat cut and rich silhouette, the color scheme of traditional colors, traditional patterns, materials, and traditional ornaments. In the second stage, the subject matter intervened to distort and transform from the original, the basic composition and structure of the Hanbok were barely maintained, they were either removed or part of the structure modified or expressed using modern materials and patterns. The third stage, were based on reality but differed from reality through subject and imagination, and only left a part of the basic composition of Hanbok, and were expressed through the partial modification of the elements of the Hanbok, for instance the silhouette, skirt waist, collar and breast-tie. The fourth stage of pure simulacre, which refers to a new image with complete independence regardless of the reality. This stage differed from the basic structure and composition of Hanbok, and showcased traditional Korean image of Korea's unique cultural elements, such as hanbok or crafts and artworks, in a modern fashion with a modern sense and practicality.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.4
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• pp.113-121
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• 2020

The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.42-50
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• 2013

The upscale Korean restaurants that appeared as a way for the globalization of Korean food by introducing Western modern elements into Korean traditional elements are presenting a new direction. For this study, the researcher visited a total of ten modernized upscale Korean restaurants including five ones in each of Seoul (Dadam, Bistro Seoul, Bicena, Today, and Poom Seoul) and New York (Gaonnuri, Danji, Ban, Jung Restaurant, Korea Spoon), where the globalization of Korean food is concentrated, and the results of comparing, investigating, and analyzing the characteristics of interior and spatial design through observation, photo taking, sketches and preparing a questionnaire were as follows. First, a modernized upscale Korean restaurant was first built in New York in 2011, and then also appeared in Seoul in 2012. The Korean restaurants in New York were mostly operated by individual person, while the Korean restaurants in Seoul were operated by large corporation. Second, the spatial configuration elements were classified into the reception, garden and rooms in Seoul and into the reception, bar hall and rooms in New York depending on the function of the interior space, showing differences in the spatial configuration elements of the garden and bar. There was a difference in spatial layout; the restaurants in Seoul were room-centered, while the ones in New York were hall-centered. Third, in terms of spatial design elements, the size of the space and furniture in the reception space of the Korean restaurants in New York were smaller as compare to those in Seoul, while the restaurants in New York represented Korean atmosphere by decorating many Korean traditional elements. The Korean restaurants in New York gave consistency to the design of the hall space as compared to the restaurants in Seoul by decorating interior decorative accessories associated with the restaurant name. The Korean restaurants in Seoul decorated room space by using more traditional elements as compared to the restaurants in New York. Fourth, in terms of food design elements, the restaurants in Seoul are characterized by the introduction of Western services and table setting, while the restaurants in New York sought originality that applied foreign ways as compared to the restaurants in Seoul. The results of this study can be used as useful basic data when setting the interior spatial design guidelines for the modernized upscale Korean restaurants that advance into the world beyond Seoul and New York, and it is expected that in-depth follow-up studies would be conducted in various cities beyond Seoul and New York where there are modernized upscale Korean restaurants based on the results of this study.

• 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.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of Environmental Science International
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• v.12 no.9
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• pp.921-934
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• 2003

The purpose of this study is to identify the characteristics and differences of borrowed landscape in traditional arbors and temples in Jeonbuk province. And this study is attempted to widespread the width of understanding the traditional landscape borrowing method for contributing in modem reception and creation of landscape architectural culture. For this, 30 traditional arbors and 30 traditional temples in Jeonbuk province were selected. The orientation of the place of view point, distance, vertical and horizontal angle were surveyed for identifying the structure of borrowed landscape. Furthermore main element, auxiliary element and a media of borrowed landscape were surveyed also. Two hypothesis were established for verifying the feasibility and real effectiveness of research results. First, the willingness of borrowed landscape shall be being in establishing traditional arbors and temples. Second, this willingness of borrowed landscape shall be accomplished in arbor space more positively than in temple space. The results of this study are as follows; 1. In temples, the surrounding landscape adapted in Buddhism principles are principally expressed, whereas in arbors, congregating landscape, variety landscape, background landscape for establishing good view point and enframed landscape are induced for making authoritative landscape as various borrowed landscape techniques. 2. The distance to borrowed landscape in temples is involved in far landscape region, whereas that in arbors is in middle and near. In comparative with temples, the arbors shows variety in distance to the borrowed landscape objects. 3. Down view borrowing is used generally in arbors, whereas upper view borrowing is used in temples at the view angle to the borrowed landscape objects. 4. Borrowed landscape objects are more considered factors than view scope in arbors. Main elements for borrowing landscape are very various arbors, but those are simple as mountains and peaks in temples. And natural elements are much more than artificial things in arbors as a media of borrowing landscape in comparative with temples.

• Journal of The Korean Association For Science Education
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• v.40 no.6
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• pp.649-656
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• 2020

In this study, we analyzed the learning elements and achievement standards, and explored the appropriateness and hierarchy of content were analyzed related to the nine types of traditional astronomical instruments presented in the traditional science unit of the History of Science course to improve the problematic situation in which students show low selection rates for the History of Science, one of the elective courses in high school science. Based on the results of this analysis, we suggested ways to utilize each astronomical instrument for teaching and learning in science curriculum with different grade bands. Using the results of this study as a starting point, if a follow-up study that develops specific achievement standards or inquiry activities related to traditional astronomical instruments can be conducted, students' awareness of Korean traditional science culture can be improved, and furthermore it is expected to increase the student's selection rate for the History of Science course.