• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.22 no.11
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• pp.2531-2542
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• 1997

This paper describes a method for region segmentation and string extractionin documents which are mixed with text, graphic and picture images by the use of the structural characteristic of connceted components. In segmentation of non-text regionas, with connection-characteristic functions which are made by structural characteristic of connected components, segmentation process is progressed. In the string extraction, first we organize basic-unit-region of which vertical and horizontal length are 1/4 of average length of connection components. Second, by merging the basic-unit-regions one other that have smaller values than a given connection intensity threshold. Third, by linking the word blocks with similar block anagles, initial strings are cresed. Finally the whold strings are generated by merging remaining word blocks whose angles are not decided, if their height and prosition are similar to the initial strings. This method can extract strings that are neither horizontal nor of various character sizes. Through computer exteriments with different style documents, we have shown that the feasibility of our method successes.

• Earthquakes and Structures
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• v.15 no.2
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• pp.165-178
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• 2018

The aim of this study is to investigate the efficiency of using threaded rods and steel profiles to produce a steel confining system for rehabilitation of damaged concrete corbels for the first time in literature. Some of the specimens were repaired by crack repair epoxy before being confined for further enhancement. A total of 19 two sided damaged corbels were used in the study with different mechanical properties and parameters but similar dimensions. The differences were in rehabilitation style, shear span, fiber percentage, reinforcement steel diameter, and concrete strength. The rehabilitated specimens were loaded with vertical load until failure. Four different configurations were used in the investigation. Test results show that the proposed rehabilitation technique is effective to enhance the load capacity of the corbels and to improve their ductility. Moreover, new formulations were proposed to calculate the load capacity of the rehabilitated corbels. A good fit was observed between numerical and experimental results.

• Journal of the Korean Institute of Telematics and Electronics A
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• v.32A no.2
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• pp.140-150
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• 1995

A symbolic layout generator, called Flexible Module Generator (FMG), has been developed for transgorming a given CMOS circuit netlist into an optimized symbolic layout. Contrary to other conventional module generators which place transistors either in horizontal or in vertical direction, FMG places transittors in any hence can multiples of 90$^{\circ}$. This flexible layout style can maximize the diffusion sharing and hence can reduce the wire-length for both of area minimization and performance improvement. In FMG, transistors are initially randomly placed and then selected transistors are iteratively replaced using an optimization technique based on simulated evolution. Whenever a transistor is replaced, the affected nets are rerouted. Constraints on the shape, aspect ratio, and critical path delays are considered during the optimization process. Routing is performed by using a modified maze router on polysilicon, metal 1, and metal 2 interconnection layers. additional routing grids are added, if necessary, for complete routing. Unused rows or columns are removed after routing for area minimization. Experimental reasults show that FMG synthesizes satisfactory layouts.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Journal of the Korean Home Economics Association
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• v.11 no.3
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.579-583
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• 2008

Web pages with complex layout and small font size do not display well on large screen display such as TV because it has limited capabilities: long distance view, passive user attitude, limited input device like a legacy remote controller. We have designed and implemented new semantic zoom browsing facilities to support effective navigation on Internet-connected digital television with limited capabilities. Our browser performs partitioning of an HTML document content into semantic blocks. Semantic blocks present summarized information with more readable style and modified layout for optimal reading and browsing. Individual blocks can be selected by the user and zoomed in more detail information by the user. The scrolling on large display device needs more user interaction. Our browser modifies the layout of an HTML document with removing horizontal scrolling and minimizing vertical scrolling. This method allows users to easily view the web page by converting into optimal reading style and layout and to easily seek the information just with zooming.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.78-86
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• 2007

One of the latest social trends is to reappear old things under the banner of the revival. It is easily found in the fashion industry because Fashion is not divided into the past, the present and the future thing but coexisting through all ages. The purpose of this study was to pursue the healthy and characteristic beauty of the modem people by understanding the beauty culture of the ancient. The Middle ages were mainly classified into Byzantine, Romanesque and Gothic by historical and cultural factors. In the Byzantine age, the clothing with rich silhouette was worn by the influence of the abstemious religion and it didn't express a specific proportion of human body. The people covered their hair with turbans and veils for the period. The Romanesque era was affected by the religious idealism and the Greek-Roman culture. The ideal proportion of human body could be 8 heads high and the clothes expressing natural silhouette of human body came out. Depending on the feel of the flowing texture, long-braided hair was typical in that time, and also wearing kinds of head dress as personal ornaments was characteristic in the age. In the period of Gothic, the long and weak human body was emphasized. The ideal proportion of human body could be figured with 8.5 heads high and it was expressed with the form of artificial and vertical silhouette such like tight-fitting upper garments, gathered skirts and long hats.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.129-144
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• 2016

The purpose of this study is to identify current trends in hip-hop fashion in korea and how they are influenced by musical characteristics of female hip-hop. This study considers the relationship between female hip-hop music and their fashion through the history of hip-hop. Data has been collected and analyzed from broadcastings, performances, music videos, and album jackets of female musicians who appeared in the cable television program 'Unpretty Rapstar' by MNET during two seasons in 2015. "Unpretty Rapstar" is the first program to focus on the music and fashion of female Korean hip-hop musicians. For the theoretical review, this article examines books and journal articles, which provide insight into the history and formation of hip-hop. It also analyzes the hip-hop styles of female musicians in Korea through Hiphopplaya.com, an Internet site specializing in hip-hop. the results of the analysis of the fashion of female Korean hip hop musicians is as follows: The characteristics of the styles of female hip-hop artists come out of Glam Style, which emphasizes femininity, but is also composed of a practical and dynamic street casual style. Most of the clothes are skinny jeans and sweat suits with vertical and slim-fit silhouettes or stadium jackets and jersey jackets with oversized silhouettes. The main colors of these outfits are prominently yellow and red with darker grayish tones, but also include natural achromatic colors.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.741-755
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• 2012

This study mathematically and scientifically investigated the aesthetic consciousness of women inherent in the costume craftworks craftworks of the Chosun Dynasty through a systematical analysis of their textile pattern composition using visual language theory. The tangent value from the horizontal and vertical ratio of the costume craftworks craftworks indicated that they had an indigenous proportion system with a relatively regular form and pattern but without an exaggerated type. There was a module based on structures in the textile patterns of the costume craftworks craftworks and the patterns were constructed by the module with the syntagms of the ratio structure. Moreover, the analysis of the pattern designs indicated that the whole form of the costume craftworks craftworks was built through a repetitive structure of feature and one of pattern units; in addition, the craftworks had the extended composition and blank space of daring patterns, an important factor to make a whole design. Therefore, our study suggested that the costume craftworks craftworks of the Chosun Dynasty was characterized by the presentation of the aesthetic style with a Geumgang ratio (an indigenous proportion system used in Korea) and could be interpreted as an art style based on the beauty of space. Moreover, it is suggested that the spirit inherent in the costume craftworks of the Chosun Dynasty (which tried to understand the whole as one and equate the whole and parts) might agree with a holistic tendency as the foundation of Korea art.