• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.99-107
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• 2007

Opening special dental office like prosthetic, orthodontics and implant is getting popular from the specialization and ramification on dental service. It shows how changes onpeople's point of view on dental offices as a business and high interesting on aesthetic. The child dental office also specialized from 1990s. It had been divided by not sort of sickness but ages of children. Thus it should support not just basic functions what other dentist of vice does but also comfortable environment to guide children patients' behavior who get afraid easily. However the interior of existing the child dental office was more focused on visual decoration but consideration of space. Thus the space is very superficial and plain, so there is limitation to give suitable environment to children patients. Therefore, from this study, I will research what is the proper space to control children patients' behavior based on well balance of space and decoration designs. Also from the research, I will explain fundamental design ideas on the child dental office space.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.106-119
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• 2010

The purpose of this study is to examine American students' perceptions of contemporary fashion design that incorporates Korean traditional costume. The findings, which are based on a survey of American students' aesthetic response to the fashion designs, are as follows. First, the impressions of American students about the fashion designs were affected by two major factors, Tradition and Trend. The Tradition factor was related to the impressions traditional, formal, elegant, classic, romantic, gorgeous, and natural, but was correlated negatively to the impressions dynamic, modern, and casual. The Trend factor was related to the impressions chic, trendy, and clear but not dandy. Designs with elongated shape had a positive score for the Tradition factor and designs with curvy line had a positive score for the Trend factor. Second, American students gave visual priority to the aspects of shape such as garment type and silhouette when they evaluated the designs. Color was less important than the aspect of shape in their fashion image perception. Therefore, they categorized the designs by similarity of garment types, and then sub-categorized them by color. The meaning of Korean traditional motifs or details was not significant to American students. Third, American students showed the tendency that the more they evaluated the designs to be gorgeous or trendy, the more they liked the designs. Furthermore, they liked the designs which have a positive score for the Trend factor.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.1 no.1
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• pp.28-44
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• 1998

This study was conducted to suggest the ecological restoration strategies for the disturbed landscapes by theoretical study. Especially, it is aimed to suggest three objectives for restoration by using native plants ; (1) prevention or reduction of wind and water erosion, (2) provision of food and cover for variety of animal species, (3) improvement of the visual or aesthetic quality of disturbed sites. The main results were summarized as follows. 1. Cooperation between restoration ecologists and restoration practitioners is needed to delineate a scientific approach to restoration ; (1) Being aware of published literature that describes similar work and/or establish general principles. (2) Preparedness to carry out proper experiments to test ideas. (3) Preparedness to monitor fundamental parameters in a restoration scheme. (4) Providing information about the behavior of species. (5) Publish results. 2. There are three models of succession in theories of plant succession. The tolerance and facilitation models were recommended to ecological restoration. The inhibition model applies in most secondary succession, but the actual species which are introduced first may inhibit the germination and growth of slower-growing species, or they may prevent the growth of other species whose propagules arrive later. 3. The objectives of erosion control, wildlife habitat provision, and visual quality improvement are not mutually exclusive. However, many revegetation practices in the past have emphasized one of these aspects at the expense of the others. 4. A native plant community can be the model of ecological restoration. By stylization/abstraction of native plant community, trying to learn the most essential characteristics of community types - environmental factors ; dominant, prevalent, and "visual essence" species composition - in order to use such information in restoration. 5. After developing mass/spaces plan, match plant communities to the mass/space plan. In utilizing community grouping, there needs aesthetic ability to understand design elements. 6. Several hydrophytes such as Pennisetum saccharifluous, Themeda triandra, Cirsium pendulum show relatively good germination rates. In case of mesophytes and xerophytes, Arundinella hina, Artemisia princeps, Oenothera odorata and legumes seem to have quick-germinating abilities at barren sites. Pinus thunbergii, Rhus chinensis, Evodia daniellii, Alnus firma and Albizzia julibrissin can be considered as "late succession" woody plants because they show low germinating rates and slow growing habitat. 7. The seeds used for restoration should be collected within a certain radius of where it will be planted. Consideration in genetic issues in the collection and use of germplasm can increase the odds for successful restoration efforts. 8. The useful model in the "drift" pattern occurs so abundantly in naturally evolving landscapes. As one species diminishes in density, a second or third species are increased. Thus, dynamic interactions between species are created. Careful using of "drift phenomenon" in planting was recommended. 9. Virtually no stand of vegetation today is immune from the introduction and/or spreading of exotic species. Therefore, the perpetuation of a restored sites requires conscious monitoring and management. Thus, management would be the most important process in ecological restoration. 10. In order to keep the sites "natural", alternative management strategies would be applied in management ; Atenative management strategies are decelerating successional process, accelerating successional processes or modifying species composition. As management tools, mechanical, chemical, biological or environmental factor manipulation, e.g., fire could be used.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.374-387
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• 2009

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.71-86
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• 2007

Affinity between a creative and experimental fashion design and a Fashion Make-up expressed in John Galliano's Collection was analysed to examine the harmony between Beauty and Fashion. This approach may establish the link between the Fashion Make-up analysed in view of Aesthetics and aesthetic characteristics of a fashion design that a fashion designer pursues. The Fashion Make-up plays a significant role to express a relevance to a design spirit because it is a visual text that a audience faces easily in a collection leading the style. Under the proposition that collection is understood as a popular culture as the fashion is preferential and popular, the Fashion Make-up can be analysed in the aspect of aesthetics. The characteristics reflecting the popularity of popular culture, such as the comic, the erotic, the fantastic and the sentimental are used to analyse and interpret the Fashion Make-up. The fashion design and Fashion Make-up with one characteristics or combined ones showing uniqueness in the popular culture are compared and analyzed.

• Journal of Fashion Business
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• v.7 no.6
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• pp.1-9
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• 2003

This study has as its primary aims the following: to create a fashion design based on the aesthetic value of Art Nouveau which flourished from the end of 19 century to the beginning of 20 century. In this thesis, two themes, Rose Aroma and Iris Memory are selected among the flower patterns and are used to create two works. First, the Rose Aroma theme is for an evening dress of S-curve style made with Silk Jacquard based on rose image of Art Nouveau. For decoration, artificial rose and its stem, and leaves are used to highlight hip line. By such design associated with a flower garden, cubic effects are expressed as a design point. Second, the Iris Memory theme is for a wedding dress made with tulle based on Iris image of Art Nouveau. This dress has a special point in its top bra, underwear used like an outer garment, involving spangle, beads, pearl, and cubic in order to enhance its visual effect. These works are significant in presenting the development possibilities of various fashion designs by introducing Art Nouveau style into diverse modern fashions.

• Steel and Composite Structures
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• v.51 no.5
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• pp.499-507
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• 2024

The paper delves into an emerging paradigm shift in architectural design, focusing on the development of a cutting-edge methodological framework for the artistic enhancement of nanocomposite brick facades in building construction. This innovative approach represents a fusion of art and science, harnessing the potential of advanced nanotechnology to redefine the aesthetic and functional properties of building exteriors. Central to this new methodology is the integration of state-of-the-art materials and fabrication techniques, aimed at not only elevating the visual appeal of architectural structures but also enhancing their structural robustness and environmental sustainability. By leveraging the unique characteristics of nanocomposite materials, the proposed method opens up new possibilities for pushing the boundaries of traditional brick facade design. Through a meticulous exploration of the intricacies involved in implementing this novel approach, the paper elucidates the transformative impact it can have on the architectural landscape. By marrying creativity with technical precision, the method environment for art design of nanocomposite brick facades promises to usher in a new era of sustainable, visually captivating, and structurally resilient building facades that are poised to redefine the very essence of architectural aesthetics.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of Science of Art and Design
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• v.8
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• pp.267-296
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• 2005

Typography, as the median for communication, has expanded its roles according the attributes of the media where it Is used, and the change of media follwing the change of times is presenting new directions to the field of typography. The attempts of 20C experimental typography prioritize visual formativeness, free typography and language started to appear on printed matters and different kinds of prints put pep in magazines. Thus, experiments in the aspects of effective delivery of inpormation that letters have and aesthetic side of shapes of letter are continuing. Today with the appearance of multimedia, development of visual colture and rapid development of digital technology, the range of experimental typography has expanded even wider and therefore, different kinds of expressions became possible. As seen above, unlike the existing static printed media that carries linguistic information only, letters in the multimedia environment is shown in the movie titles, TV or web not only as a basic visual media such as type and image, but as a dynamic and complex factor that contains additional information of motion and sound factor. This study will attempt to find the historic context of focus of moment from the kinetic art and define the moving letters as kinetic typography. Therefore, this paper will have an understanding on kinetic typography's background, concept and characteristics following the change of communication environment in the multimedia era and tried to study the basic theories of kinetic typography and the information delivery and imagery function of letters. Also, this paper attempted to carry out a study on whether kinetic typography is delivering information smoothly from the aspect of communication through the image role as delivering information by studying major works of artists who have influenced kinetic typography. Based on this study, I would like to suggest new direction for effective delivery of information and value of use.