• 한국실내디자인학회논문집
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• 제25권6호
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.

• 한국의류학회지
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• 제42권5호
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• pp.769-785
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• 2018

This study focused on similarities between modern philosophical Nomadism and the thoughts of Korean people as well as analyzed the correlation between modern Nomad fashion and Korean traditional costumes. This study aims are as follows. First, to establish aesthetic characteristics by examining modern Nomadism and Korean thoughts. Second, draw the principles of design expressions of modern Nomad fashion and Korean traditional costumes. Third, analyze correlations between them. The method of this study was a literature review and an analysis of related photos. The study results are as follows. First, Nomadic aesthetics are characterized by the formation of complex diversity with the variability of fusion and separation through liquidity in an ambiguous boundary; in addition, various possibilities and harmony are the characteristics of Korean aesthetics, held by a holistic thought based on the vision of the universe of Qi (氣). Second, Nomad fashion appeared as variable designs through repetition and the overlapping of forms, and irregular designs were noticed through repetition and the overlapping of circles, quadrangles, and angles in Korean traditional costumes. Third, similarities in the creation of liquidity, variability, and de-territoriality based on modules can be found; in addition, common principles can also be drawn from the appearing design expressions.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.21-30
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• 2015

The visual expression system of space realized in Baroque aesthetics is basically grounded on the philosophical view to the world of the time, that is to say the changes of the thinking system in the Renaissance and ontology based on it. Structural aesthetics in Baroque freed from Plato's system of harmony but grounded on Leibniz's process philosophy formed a crucial background to highlight the formal nature of the whole and build a structure based on the inclusive principle of formativity. Also, to solve problems to realize the order and consistency of forms from the whole, Baroque adopted the nonlinear and nonphysical formative system as the principle of building space in works of art. Combining the order system of nature in the Renaissance with manneristic dynamicity as well as formative principle taking shape geometrically, it did establish a variety of aesthetic concepts based on the results of infiniteness and exaggeration expressed from the two forces, the Renaissance and mannerism. This study has found that such Baroque aesthetics did overcome classical planeness and draw continuous mobility from the structures and forms based on that with the transborder concepts of structures, the components of space, as an ultimate system of formative expression. Moreover, this author has drawn and analyzed with the cases of the 17th-century art and architecture the transborder elements manifesting the nature of diverse formative visual elements produced in artistic expressions with that principle of aesthetics, that is the intangible concept of Baroque. Based on that, this researcher intends to come up with technical solutions to solve a lot of environmental and architectural problems we are severely facing nowadays in terms of environmental, physical, and emotional aspects with the theoretical clues and results acceptable to this contemporary era.

• 한국의상디자인학회지
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• 제17권3호
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• pp.135-148
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• 2015

The purpose of this study was to research into TV makeup types focusing on Korean aesthetics with recognizing importance of Korean thought amid what the global interest pays attention to South Korea thanks to the recent influence of Hanryu(Korean wave). The following are summary and result of this study. The non-dual beauty is an integrative concept of including ambivalence on the categorical difference in sex, culture and class by transcending the extreme binary division. As this is what reflected the open thought of pursuing balance of yin and yang in Korean people, it is being shown in the form of transcendence and far-outness through TV entertainment programs. Transcendence coexisted with maintaining relative relationship beyond separation in sex. Far-outness was pursuing free sensitivity immanent in the non-separated thought of transcending the past, the present and future. This trend is being indicated similarly to a change in its paradigm from separation to convergence these days. Accordingly, even makeup was showing similarity to the recent trend with being paid attention to the makeup of focusing on identity in sex and to the makeup of being coexisted the past, the present and future with the aspect of being mixed space time. The Korean aesthetics has been feeble in its influence compared to the Oriental image of focusing on China and Japan in the meantime. Hence, this study can be said to have significance in a sense of being the first consideration that compared TV makeup types of focusing on Korean aesthetics and suggested its developmental direction.

• 한국정밀공학회지
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• 제31권1호
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• pp.59-66
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• 2014

The central seam, the vertical 'line' between doors, in the front view of a refrigerator must have its gap and flush within certain ranges to meet functional and aesthetic requirements. The conventional criteria for gap and flush control in the industry are to keep the gap and flush within certain ranges at each of various points along the seam. For aesthetics, however, the uniformity of the gap is also as important because a 'tapered' seam is negatively perceived by human eyes. This paper shows a case study of tolerance design for a refrigerator door system. It presents a step-by-step procedure, which consists of datum flow chain analysis, identification of assembly features, computer modeling of feature tolerances, assembly operations and measurements, tolerance simulation, and tolerance adjustments based on the simulation results. It is found that extra care may need to be used to satisfy the aesthetical criterion for gap uniformity.

• 복식문화연구
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• 제16권1호
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• pp.88-99
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• 2008

This study aims to analyze product samples of convergence of fashion and technology, as convergence is a major trend in the age of digital paradigm, and to propose desirable directions of development for technology convergence in fashion design in the future. With bibliographic research as well as internet search of the cases of development and commercialization of convergence of fashion and technology from the 1960s, when wearable computers were first introduced as an early development form of convergence, to the present, it becomes possible to classify these cases into three groups: functionally oriented one, aesthetically oriented one, and one that combines function and aesthetics. The pros and cons of each group of these cases are discussed and an evolutionary trend is observed from the earlier stage of convergence with functionally oriented cases which tried to achieve specific purposes of the time to the later stage of convergence with emphasis on both function and aesthetics which reflects the sensitivity of the general wearers. When three groups are plotted in the positioning map with one axis of function-aesthetics and the other of industry-fashion designer, however, all three are located outside of the two axes, suggesting these elements are not very well combined. In order for the products of the fashion-technology convergence in the future to receive favorable response from the consumers, it is necessary for the fashion industry to develop a close collaboration with companies of digital technology and the convergence products not only will have to provide functional benefits of the new technology but also to satisfy the aesthetic demands of the wearers.

• 한국실내디자인학회논문집
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• 제21권1호
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• pp.111-118
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• 2012

The purpose of this study is to classify the epistemological critique between philosophy and architecture. Although there are various interpretations and criticism about the architecture, the fundamental critique of architecture is difficult. It is necessary to approach by the philosophic paradigm rather than architectural one. Therefore the procedure and method of study is to define the epistemology within philosophy and architecture, and present the classification viewpoint and the architecture case. The conclusions of this study based on purpose and process are as follows : The First, the philosophic epistemology is to mean the unity of subjective and objective. And the epistemological viewpoint of architectural philosophy is to define the construction's universality. The second, the architectural philosophy is a kind of the philosophy of art, and It is associated with the basis of aesthetics. Thus, the category of architectural philosophy like the aesthetics is classified with function directivity and form directivity, content directivity. The Last, epistemological critiques between philosophy and architecture are as follows ; 1) subject-object-integrated recognition critique (function directivity), 2) object-oriented recognition critique (form directivity), 3) subject-oriented recognition critique (content directivity).

• 한국가구학회지
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• 제18권2호
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• pp.120-128
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• 2007

This study explored the philosophical Modernity with the Enlightenment in relation to cultural and aesthetic modernism rooted in Modern furniture, which directly reflected modern culture and society with rationality, science, individualism, progressive, universal truths, etc, using qualitative analysis about the related literature as the principal methodology. A fundamental philosophy of the modern furniture influenced by Industrial Revolution is that the dictates of function and industrial technology must be decided by form. The theory and practice of the International Style in modern furniture came from the modern aesthetics in the philosophy of Modernity. As a result, as influenced through the Enlightenment project and the relationship of individual to society in relation to cultural and aesthetic modernism, and the three modern movements with furniture, which are Arts and Crafts movement, Art Nouveau, and Art Deco, represented the beginning style of modern furniture design toward functionalism or minimalism.

• 패션비즈니스
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• 제21권3호
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• pp.1-13
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• 2017

Ralph Rucci, the first American designer who presented official collections at Paris Couture since Mainbocher, is known for his innovative dressmaking techniques and sculptural forms. Accompanied by literature survey, this study examines the aesthetics of Ralph Rucci's designs by content analysis of his works, Rucci's designs since his debut collection of 1994 until he left the Chado Ralph Rucci label in 2014 and his returning collection under the new label, RR331, in 2016. Ralph Rucci developed his creative designs by the following strategies: First, he reinvents the couture tradition of Balenciaga and $Gr{\grave{e}}s$ into progressive and functional American couture in that he gives consideration to a wearer's movements and comforts. Second, Rucci constructs architectural volume based on human anatomy and architectonic strategies, with the attention to three-dimensional quality of the space built between the body and a garment. Third, he conducts engineered construction summarized by his original 'suspension' techniques, which function as both ornamentation and construction.

• 한국의류학회지
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• 제34권5호
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• pp.715-725
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• 2010

This study suggests through an examination of maternity wear sold in domestic markets a design for maternity wear trousers that integrate functionality, aesthetics, and marketability. This study targeted women who had maternity wear experience to obtain basic information for the design of maternity wear trousers. This study conducted questionnaire research on maternity wear and surveyed the growing on-line maternity market. The results are as follows. First, in the questionnaire research on wearers of maternity wear, women 26-35 years old were the main consumers and emphasized comfortableness as the significant reason for buying and using maternity wear. Second, the centering on pants were evaluated to be the most uncomfortable item among maternity wear and confirms the necessity for a maternity wear design whose bodily fitness is high according to the trouser panel. Third, a standard for the specific design was established to solve maternity wear problems based on the analyzed information. This was established by having a concept as a minimal motive in 'new naturalism' that is the aesthetics of slackness for the $21^{st}$ century. A specific design was developed with 6 kinds for skirts and 9 kinds for pants.