• Journal of Science of Art and Design
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• v.6
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• pp.226-248
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• 2004

The researcher has tried to develop the aesthetic value of the art and the function of metalwork in conjunction with our daily life. especially has been eager to develop the new possibility of metal urns through the investigation of ordinary metalwork. Funeral urns are vessels to fill the ashes of bodies. As the social issues, including problems of restricted land territory and environmental pollution are awakening, many people are much concerned about the use of urns in recent days. Although social concerns about cremation and urns are getting high, most urns in Korea have been made of ceramic and stone. The shape of old urns are pot style with lids, and their color is simple white or jade green. Moreover, old urns are expensive, unpractical, simple, and furthermore, the feature of urns has not preserved the sense of beauty. In this context, we have narrow choices to select urns, and it has been difficult for us to be familiar with the old-style urns. Therefore, the need for developing metal urns are necessary as the increase of public concerns towards cremation is widely spreading. As it is well known, metal is not only regarded as hard, antibacterial, pro-environmental material , but also regarded as good substance for urns. Metal is also suitable for making urns because of metal's characteristics of easy processing, mass production, and cheap price. The researcher has been tried to find the possibility of art of metalwork through the dissemination of metal urns to the public. The researcher has also attempted to represent the characteristics and symbolic implications of contemporary metal urns for ordinary people to adopt metal urns as their 'Rite Haven'.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.664-676
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• 2001

This study highlights the homogeneity in the heritage of the costume cultures between the Gulf of Aden, a part of the Horn region of Africa and the Arab region of West. Asia. Specifically, a cross-cultural perspective is used to examine the similarities between the two regions based on their (1) geographic living cultures and (2) the use of a costume accessory called Burga-a face veil. The current trend in research on the traditional costume culture of Africa mostly ties art with the traditional costume culture and examines its from an aesthetic or animalism perspective rather than from a cross cultural Perspective. Compared to Previous research in this area this study used literature reviews and Pictorial analysis to analyze costume cultures from a cross-cultural perspective. The Burga, which is worn in the low lands of the Horn region, which is located between the West Asia and African continents, as well as the Arab region, shows a reciprocal cultural exchange between the two regions. Similarities can be found in the shape, design, decorative elements, and the way the Bursa was worn in two regions. Although the Burga as a face veil is only a small part of a costume, it reaffirms the similar living cultures and geographic characteristics of the two regions. As the living culture environment becomes similar around the world, this study should help with cross culture negotiations as well as forther the development of traditional costume research.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.123-137
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• 2006

Christian Dior has been standing to a good position in fashion and make-up for a long time, and it has been growing up continuously. The purpose of this study was to find out data that a point of view on sensibility. So first, this study analyzed image components of Christian Dior fashion, then this study examined aesthetic characters of Christian Dior fashion. For researching the image of Dior based on an historical consideration of Dior, subjects were fixed in this study. 1) Analyzing image components of Dior fashion 2) Examining image characters of Dior fashion 3) Researching consumers understand how to image of Dior fashion. The study was theoretical and established method; using more than a graduate student-major in clothing and make up, survey$(2004.5\sim6.)$ and SPSS 10 program statistics method. As the results, in Dior fashion, this study analyzed the factors of shape, color, material and texture, and that indicated character of chic, classic, gorgeous and romantic image on the foundation of elegant beauty. As consumers understood that as a same image. By analyzing the image as an emotional side, it could be fundamental data of emotional marketing for Asian.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.145-152
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• 2004

The purpose of this study was to find out the traditional decoration techniques in the Korean costume. Both quantitative and qualitative research methods were used to collect and investigated the traditional decoration techniques used in the related literatures and museum catalogues. The results were as follows. The broad and back stitching are fundamental stitching, which used to Nubi and Keki. Top stitching applied broadly to the Korean costume, for example, Jergori, Wonsam, Jeonbok, Beosun, Bojagj and so on. The expression techniques for top stitching were one, two or three stitches. When the top stitching was used as colorful stitches, they were more decorative. The Zatmulim was used for the decorative effect on the seam line because it was triangular shaped and became more effective by changing the rotor and size. Sunmulim was used on the narrow line such as the seam lines of Gergori and Chima. The bakchi decoration was imitating a bat shape, had a meaning of bringing the goodness and gave the tiny and elaborated image. It was used to the neckline of Geogori, seam line of Chima, Pungcha Bazi and so on. Sattgi was used to attaching the bottom of two stiff fabrics adopting for Beosun, Ayam and Norigae. When it used colorful strings, the more decorative effect was added. The knot for button used the fabric instead of buttons and applied to the Cheonlik, Gergori. The aesthetic values of the traditional decoration techniques in the costume were both natural beauty and practicality with creativity.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.6
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• pp.793-804
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• 2005

The new paradigm of the 21st century demand an openly different world of formative ideologies in respect to art and design. The purpose of this study is focused on trying to comprehend aesthetic essence of clothing as an, with the investigation of artistic theories manifested by art philosophers. Art to Wear was categorized into style to understand its artistic meaning as well as to analyze its character. Upon the foundation of semiotics theory, the feature of Art to Wear and its analysis category were argued in the context of Charles Morris three dimension of semiotics analysis. The conclusion to the research is like so. The feature and analysis category of Art to Wear upon a semiotics perspective was divided into syntactic dimension, semantic dimension and pragmatic dimension. The analytical categorization upon the perspective of syntactic dimension fell into the category of topology, shape and color. The semantic dimension of Art to Wear was divided into categories of denotation and connotation. In addition, the pragmatic dimension of Art to Wear analytical categorization was divided into a delivering function and common function.

• Journal of the Korean Home Economics Association
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• v.50 no.5
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• pp.39-49
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• 2012

This study looked into the trend of expression of animal motifs that appears in modern fashion, and the values embedded in them. As to the research method, empirical analysis was performed on the works presented at the four global collections of Paris, Milan, New York and London from 2001S/S to 2010F/W, as well as a literature review. As a result, animal motifs applied in modern fashion appeared in material groups, such as leather or feather. The first group shows a realistic material feel, with artificial leather or fur, expressed in a transformed complex animal motif, with process skill or various methods of expression. The second group is the case of a single motif or reality, mode, and ion pattern. Printing is a generic expression, but patchwork, collage or bead ornament are also used, and expressed in the various forms of pattern: pattern in a single animal, pattern in different animals, and pattern combining both animal and other shape. The third group is a small decorative ornament, including headset or accessory and makeup, which is transformed in an animal-characterized motif into part of clothing components for expression, or to set the real animal to the stage for a performance. The embedded values were also categorized as natural beauty, sensual female beauty, pleasure, and ornamentation, which could be an endless spiritual source, and a breakthrough that enables us to show a creative and new aesthetic for the modern fashion field.

• Proceedings of the Computational Structural Engineering Institute Conference
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• 1998.10a
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• pp.251-257
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• 1998

Spherical space frame structure with triangular network pattern, which has the various characteristics for the mechanic property, a funtional property, an aesthetic property and so on, has often been used as one of the most efficient space structures. It is expected that this type will be used widely in large-span structural roofs. But because this structure is made of network by combination of line elements there me many nodes therefore, the structure behavior is very complicated and there can be an overall collapse of structure by buckling phenomenon if the external force reaches a limitation. This kind of buckling is due to geometric shape, network pattern, the number of layer and so on, of structure. Therefore spherical space frame with triangle network pattern have attracted many designers and researchers attention all over the world. The number of layer of space frame is divided in to the simgle, double, multi layer. That is important element which is considered deeply in the beginning of structural design. The buckling characteristics of single-layer model and double-layer model for the spherical space frame structure with triangular network pattern are evaluated and the buckling loads of these types are compared with investigation their structural efficiency in this study.

• Journal of architectural history
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• v.25 no.6
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• pp.61-72
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• 2016

This study is about the structure and transition of orthogonal design of palace architectures in Joseon Dynasty. The results are as follows. First, Changdeokgung and Changgyeonggung Palaces' corridors, and their architectures seen in the Court Documentary Paintings have early Joseon style in the corner-connections. Their roof shape in the corner is gable roof. Generally, gable roof has direction. Besides, it is easy to extend gable sides. Second, Corridor of Gyeongbokgung Palace has hipped and gable roofs with corner eaves. It was popular during the late Joseon Dynasty. On the other hand, it is impossible to extend any sides of those roofs since they have roof faces in their four sides. Instead, they have completeness. That's why their aesthetic appeal exhibits more pleasing than gable roofs. Third, corner-connections of palace architecture shows evidences and traces of the transition from gable roofs meeting at right angle in the early Joseon to hipped and gable roofs meeting at right angle with corner eaves in the late Joseon. Also, the corner-connections with corner eaves were usually used even in the attached architectures.

• Journal of the HCI Society of Korea
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• v.10 no.2
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• pp.57-64
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• 2015

Giving birth to a new concept of spatial paratext which originated from literature criticism, this paper attempts to illuminate new value, meaning and properties of mobile mixed reality. While physical places can be regarded as 'langue' that refers to fixed structure and main text at the same time, user created participatory authoring in that place and his(her) spatio-temporal trace corresponds to 'parole', and their merging into mobile mixed reality storytelling can be viewed as 'paratexts'. We proposed a design and implementation methods for establishing spatial paratexts, also with aesthetic transformation experiments with them. In this way, we gave shape to the concrete concept and realization methods of mobile mixed reality as spatial paratext.

• Steel and Composite Structures
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• v.43 no.6
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• pp.759-772
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• 2022

Concrete-filled double skinned steel tubular (CFDST) columns have been used to construct modern structures such as tall buildings and bridges as well as infrastructures as they provide better, lesser weight, and greater stiffness in structural performance than conventional reinforced concrete or steel members. Different shapes of CFDST columns may be needed to satisfy the architectural and aesthetic criteria. In the study, three-dimensional FE simulations of circular and elliptical CFDST columns under axial compression were developed and verified through the experimental test data from the perspectives of full load-displacement histories, ultimate axial strengths, and failure modes. The verified FE models were used to investigate and compare the structural performance of CFDST columns with circular and elliptical cross-section shapes by evaluating the overall load-deformation curves, interaction stress-deformation responses, and composite actions of the column. At last, the accuracy of available design models in predicting the ultimate axial strengths of CFST columns were investigated. Research results showed that circular and elliptical CFDST column behaviors were generally similar. The overall structural performance of circular CFDST columns was relatively improved compared to the elliptical CFDST column.