• 대한토목학회논문집
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• 제32권6A호
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• pp.355-367
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• 2012

전국 농촌에 산재되어 있는 많은 수로교가 노후화되어 보수 보강 및 리모델링이 필요한 실정이다. 수로교는 농촌의 경관에 일부분을 차지하고 있으나 지금까지 본연의 기능 위주로 설계되어 구조물별 특징없이 소규모의 연속화된 구조적 특성을 가지고 있어 단조로운 경관요소를 이루고 있다. 따라서 기능과 안전 및 경관을 함께 고려한 수로교의 리모델링 설계가 요구되고 있어 본 연구에서는 이를 위한 실제 적용가능한 설계대안을 제시하고자 하였다. 수로교 설계대안을 제시하기 위하여 교량의 미학적 원리를 바탕으로 상하부구조의 형태과 배치, 색채와 문양 등을 미학적 설계요소로 표현하였으며 제시된 설계대안은 주변경관과 함께 지역적 맥락에 적합하도록 하였다. 본 연구에서 제시된 수로교 개보수 설계 대안 가이드라인은 농촌지역의 경관에 어울리도록 노후 수로교에 대한 개보수계획을 수립하는데 활용될 수 있을 것으로 기대된다.

• 복식
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• 제58권7호
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• 헤리티지:역사와 과학
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• 제53권2호
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• pp.254-269
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• 2020

본 연구는 '고도 이미지 찾기 사업' 중 가로경관개선 사업의 하나인 담장에 대한 이론과 담장 디자인 선행 연구를 통하여 고도에서의 담장에 어울리는 담장 정비 방향을 제언하고자 한다. 연구방법은 선행 연구를 유목화하고, 담장 디자인 이론을 고찰한 후, 고도 지정 지구의 의의와 '고도 이미지 찾기 사업'의 현황을 분석하였다. 이를 바탕으로 사례 대상지를 선정하여 고도담장정비 사례 현황과 문제점을 파악하고 개선 방안을 여러 특성을 비교하여 분석하였다. 담장의 선행 연구는 담장의 성격 분석, 담장 디자인 원리 응용, 담장 구조·색채와 형태 및 응용, 현대적 재해석, 궁궐 담장, 주택·사찰·마을의 담장 등 6개 항목으로 유목화되었다. 담장은 '고도 이미지 찾기 사업' 중 가로경관개선 사업에 해당하며 시지각적 인지도가 내부 건축물보다 선경험으로 제공되는 특성이 있다. 고도담장정비 사례 대상지는 고도별 특별보존지구와 보존육성지구의 구성 분포 비율을 기준으로 무령왕릉과 인접한 공주시 송산리길 주변 마을을 선정하였다. 공주시 송산리길 주변 마을의 '고도 이미지 찾기 사업'은 한옥 신축으로 시작되었다. 그러나 담장 정비는 한옥 신축과 동시에 시행된 게 아니었다. 가로변 건축물 외관 정비 사업으로 추후에 지원과 정비가 이루어진 것이다. 한옥과 담장이 동시에 설계되어 심의 후 신축되었다면 한옥의 규모 및 디자인과 조화를 이루는 담장이 되었을 것이지만 서로 기간을 두고 신청, 설계, 시공되었기에 한옥의 처마와 담장이 대지 경계선에 거의 맞닿아 있는 결과를 초래하였다. 공간적으로 가깝고 높은 한옥 본채와 담장의 배치는 답답하게 닫혀 있는 구조물로 인식된다. 송산리길의 담장 디자인은 고도의 특성을 나타낼 수 있는 형태와 색상과 재료로 차분하고 은은하며 안온한 분위기를 자아내야 하는데, 날카롭고 옹색하여 난처한 지경에 놓여 있다. 이러한 문제점을 개선하려면 담장 설계 디자인을 먼저 고려한 후, 한옥 본채 설계 디자인을 후순위로 진행하는 방안의 도입도 합리적 대안이 될 수 있다. 사례 대상지인 공주시 송산리길 담장 지원 사업의 문제 요인은 전통 담장이 가져야 할 미적 요건에 상당히 부족하다. 첫째, 담장의 자연 재료 선정 및 활용에서 미적 의식이 실종되었다는 것이다. 둘째, 디자인 완성도와 조화의 부재이다. 조사 대상지인 공주시 송산리길 고도담장정비의 문제 요인을 분석한 개선 방향은 다음과 같다. 첫째, 한옥 설계와 담장·대문 시공 설계 도면을 함께 심의해야 한다. 둘째, 한옥 담장 디자인의 자연석 돌담 일변도를 재검토 진단하여야 한다. 셋째, 계획·설계 과정에 주민과 전문가의 의견을 조정하는 상시 체계를 가동해야 한다. 넷째, 한옥의 개별성을 집단화하여 지역의 정체성을 대표하는 문화 자산으로 가치를 높여야 한다.

• 복식
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• 제66권6호
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• pp.95-109
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• 2016

The process of making fashion accessories brings many benefits to visually impaired people. It helps the development of their tactile sensation, improves their aesthetic attitude, creativity, and imagination, and brings energy to their life. The current accessory making education in Korea is targeted to people with normal vision, and does not reflect the specific needs of the visually impaired. This causes a lot of trouble in educating the visually impaired. Therefore, this study aims to increase the efficiency of accessory making education by selecting curriculum and material that are appropriate and systematic for the visually impaired. In order to understand visual impairment, literature review was conducted to examine the definition and classifications of the impairment. Research was also done regarding material types and production method of fashion accessory. The study also designed an education program, including teaching guidelines, by referring to literature related to fashion accessory design, teaching guideline. The study conducted 12 experiments based on the results from April to June 2014. After revising and supplementing the teaching method, 2nd set of experiments were conducted from July to September 2014. Each class lasted for one and a half hour every week, and the class was composed of 6 students, 1 instructor and 1 volunteer. After each class, interviews were done to collect student opinions about the curriculum and material. Total experiment results and interview were reflected in constructing the final education program. The result of the experiments and interviews showed that selecting the accessory materials for class must be selected carefully. The visually-impaired students were very sensitive to the size, texture, shape, hole size of beads and length of material. After the experiments, all the students were able to distinguish the size and shape of the beads well, and finished the accessories using the given materials. The study verified that there is a need for another approach when educating the visually impaired about fashion accessory design. Many factors need to be considered from selecting materials to class contents. This study will contribute as a reference to fashion accessory making education as well as other design education for the visually impaired.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 조형예술학연구
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• 제6권
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• 한국의류산업학회지
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• 제16권1호
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• pp.26-34
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• 2014

This study considered movie costumes shown in 'Alice In Wonderland' by Tim Burton based on the Theory of Fantasy in Literature by Tzvetan Todorov and Rosemary Jackson. The research method used was a case study on expression types of fantasy used in movie costumes with a literature research based on the Theory of Fantasy in Literature. The Theory of Fantasy in Literature has significance in suggesting a new theoretical approach for understanding a visual perspective and aesthetic characteristics shown in fashion as well as movie costumes. The conclusions of the study are as follows. First, fantasy can connote characteristics of the marvelous, the uncanny, and the imitative through a consideration of Theory of Fantasy in Literature. Second, the marvelous is what is not beautiful, not ugly, but is strange and surprising, and what escapes from the existing norm. The characteristics of the marvelous in movie costumes are expressed through cross-dressing or displayed by allowing the personified animal to wear clothes. Third, the uncanny is something that causes grotesque, disgusting, comic and recreational responses. The characteristics of the uncanny in movie costumes are expressed through exaggerating and artificially transforming the body. Fourth, the imitative is the property of trying to imitate or follow other things. The characteristics of the imitative in movie costumes are indicated by dismantling and expanding a form through borrowing costumes from various ages.

• KIEAE Journal
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• 제10권2호
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• pp.39-48
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• 2010

PAJU Book City Plan was designed to integrate two concepts of "Publishing Productive City" and "Ecological City" with the goal of "bringing of human being and nature together". This research on the post occupancy evaluation on PAJU Book City has two aims; One is to define how people, mainly working there rather than living, recognize the city and the other is to identify the problems resulted from the first phase of planning process and to suggest feasible solutions at the same time. It would be desirable that the outcome of this research should be used as data sources to improve the second phase of the plan. The evaluation criteria were created by the pre-survey on the basis of previous researches and "Pa Ju publishing city architectural design guide book (1999)". With those criteria, on-site questionnaire was conducted among people who work in PAJU Book City and stratified sampling was used for the proper sampling. The result is as follows; the visual-aesthetic criteria had positive response, which also closely related to a city satisfaction. Considering this result, construction type, circumferential environment of the building and a place of building form were found appropriate. The evaluation on the physical-ecological criteria was relatively low. Respondents were unsatisfied with green space and required better ecological waterway and more roadside tree. As green space was given a lot of weight in satisfaction survey, more green urban areas should be planned in the next phase. The evaluation on the social-behavior criteria got the lowest score. Particularly, the accessibility and convenient facilities were remarkably low. Nonetheless, the self-conceit about PAJU Book City was highly evaluated and played a crucial role in a city satisfaction. In order to achieve the goal, physical beauty, characteristics as a publication city as well as an ecologically sustainable city should be main agenda in the second phase of Paju Book City Plan. Consequently, it is important to strike a balance between the external environment and image media in order that PAJU Book City should be re-born as a culture city.

• 한국콘텐츠학회논문지
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• 제11권9호
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• pp.76-84
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• 2011

본 논문에서는 인터랙티브 미디어 작품 제작에 적용 가능한 개념을 제안하고 개념이 적용된 미디어 아트작품에 대한 사용자 경험과 그것에 대한 결과물을 통해 개념의 타당성과 그 가능성을 시험해보고자 한다. 이를 위해 사용자 인터랙션 흔적을 아날로그와 디지털 형태로 남기도록 하는 '에이디-트레이스(AD-Trace)'라는 개념을 세우고, 이를 적용한 다양한 인터랙티브 미디어 아트 작품 창작을 시도하였다. 에이디-트레이스는 디자인 요소로서 '아날로그 흔적(Analogue Trace)', '디지털 흔적(Digital Trace)', 그리고 두 요소를 연결하면서 사용자의 인터랙션을 유도하여 보다 의미 있는 흔적을 남길 수 있도록 지원하는 '인터랙션 메타포(Interaction Metaphor)'를 갖는다. 이 세 가지 요소는 본 연구자의 세 개 작품인 '에이디-피디(AD-PD)', '에이디-스타(AD-Star)', 그리고 '에이디-맵(AD-Map)'에서 각 작품의 콘셉트에 맞게 디자인 되었으며, 사용자 참여 후 얻어진 결과물을 통해 에이디-트레이스가 가질 수 있는 특성을 분석하였다.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.