• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.2
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• pp.21-30
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• 2011

Urban scape of Gyeongju is overlapped by periods. So, a study of each Periodical urban scape is required to understanding the present urban scape. All it requires study is on account of different a characteristic and the meaning of the scape. Especially, unified Silla period was most flourished in all time, has Abundant image of urban scape, heavily influences present urban scape. The research was proceeded through the classifying the concept of Urban form and the basic ideology and adopting the representative landscape at that time with the literatures and maps, on Unified Silla Period. And then tried to find out the identity of landscape with the link between the concepts of the representative landscape and that of Urban form in chronological order. The identity of historical landscape in Gyeongju on Unified Silla Period from the result of research has been influenced on by the connection with natural environment, urban form revealed by grid, space organized by vigorously heading up the inside, and Buddhistic ideology and esthetics.

• Journal of the Korean Society of Costume
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• v.4
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• pp.25-37
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• 1981

Art Nouveau style refers to the movement of art which was started in France and Belgium in the last decade of the 19th and the early years of the 20th century. The distinguishing characteristics of Art Nouveau style are the sensous sinuosity of its line, nervously undulating, curving over itself, rhythmical, flowing in endless patterns, which are inspired by animals and plants, specially by flowers, leaves, long stalks. The Art Nouveau style includes also the extreme simplicity of form, and asymmetric design. This new trend of art movement spread into architecture, furniture, wall papers, graphic design, accessories and textiles. In this paper, I tried to find out whether or not the Art Nouveau style had an effect on clothing. Because I believe clothing, like architecture, painting, and sculpture, is an Art form that derives from a particular set of cultural circumstances and reflects the needs and aspirations of the society for which it is created. Fashions in clothing over the last five thousand years have mirrorred the art form as well as the spirit. The result of this study shows that the Art Nouveau style made a lasting contribution to the modernism of clothing as well as architecture and interior design at the end of 19th century and the early years of the 20th century. The modernism of clothing appeared in the straight silhouette, asymmetric design, simple and light trimming, embroidery with Art Nouveau pattern, and stylized flower design in textile. Art Nouveau made a great contribution toward the modern clothing to have its liveliness and its harmonious relationship between clothing design and the use of materials.

• Journal of the Korean Society of Systems Engineering
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• v.2 no.2
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• pp.27-32
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• 2006

The emerging standards since 1990's can be classified as 'system standards' (process-oriented standards) and they specify the process of an enterprise and also apply to almost all industries regardless of size, type and products. Notice that the conventional specification-oriented standards present relatively clear criteria even though the structure, performance, and terminology are defined in text-based form. However, the system standards dealing with the processes do not present a coherent guide. Therefore, it is difficult to analyze them with the same viewpoint, thereby resulting in differences in the level of understanding. This study is aimed at graphically modeling the system standards originally described in text-based form. The study has been carried out in the framework of the PMTE (Process, Methods, Tools, and Environment) paradigm. The system standard targeted here is ISO/IEC 15288. Firstly, review of the literature on the systems engineering (SE) standard/process and on the graphic model IDEF0 was done, respectively, for the parts of 'E' and 'M'. Then the SE process of the MIL-STD 499B was applied to ISO/IEC 15288 as 'P'. Finally, the graphical model was generated by AI0Wins as 'T'. As a result, the graphical model-based approach can complement the drawbacks of the text-based form.

• Archives of design research
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• v.17 no.1
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• pp.299-308
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• 2004

The methods of presenting information are more variable with advanced computer media technology. However, when we visualize information of database, it is more difficult to understand data meaning by complex date, which is not required by user. To compose new information, user needs to combine own his memory and new information presenting result. To be quickly explored new information and be exactly understood relationship of data structure, the data presenting of visualized information is more structured and presented with meaning form. It is possible to make information visualization system, which users can explore database by oneself, with supporting interaction to be able to control and combine relationship of three-dimensional scene graphic structure, presenting factors of animation and data structure of database. There are several diagrams, such as VR diagram, Form structure diagram and simulated diagram as the case study.

• The Journal of Bigdata
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• v.5 no.1
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• pp.77-88
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• 2020

Recently, many researches habe been done to organize and analyze various complex relationships in real world, represented in the form of graphs. In particular, the computer field literature data system, such as DBLP, is a representative graph data in which can be composed of papers, their authors, and citation among papers. Becasue graph data is very complex in storage structure and expression, it is very difficult task to search, analysis, and visualize a large size of bibliographic big data. In this paper, we develop a graphic user interface tool, called EEUM, which visualizes bibliographic big data in the form of graphs. EEUM provides the features to browse bibliographic big data according to the connected graph structure by visually displaying graph data, and implements search, management and analysis of the bibliographc big data. It also shows that EEUM can be conveniently used to search, explore, and analyze by applying EEUM to the bibliographic graph big data provided by DBLP. Through EEUM, you can easily find influential authors or papers in every research fields, and conveniently use it as a search and analysis tool for complex bibliographc big data, such as giving you a glimpse of all the relationships between several authors and papers.

• Archives of design research
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• v.13 no.3
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• pp.191-200
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• 2000

Recently, as the form of media has been various and computer graphic technology has developed, it has been possible and attempted to present database information 3-dimensionally and dynamically. However, there was not many studies done regarding how to present 3-dimensional and dynamic information. Therefore, this study was conducted to develop presentation techniques and languages of 3-dimensional and dynamic information. This paper consists of four section. First, it was introduced by secondary research that fundamental knowledge and functions for presenting the information by the computer graphics. In other words, it was stated what is possible to present 3-dimensional information on the 2-dimensional screen and which functins becomes better as computer graphic technology has developed. Second, computer graphic model that present database information should also have hierarchical structure that database information has. Thus, it was discussed how to present information regarding how to make a structure of graphic model that present database information. There are two ways to present information- by changing structure of information and by changing graphical presentation techniques. Third, all the graphical presentation language was collected and explained. Finally, the case study of presenting statistical data for baseball players demonstrated concrete example of using graphical presentation language.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.599-604
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• 2021

In an era where AI artificial intelligence converges into each field, design of AI-CARE function and UI UX design are in the spotlight. The application of shape design and the trend of color are important for visual effects to match new features. In this paper, we would like to use this to present an example of the arrangement and application of form trends and to present design directions. In the introduction, the latest design environmental factors were analyzed and studied in the direction of the new proposal. In the text, the design direction and consideration of the design in the planning were studied by separating the functional design form, and the direction of the design work was presented. At the stage of form and color, a plan was proposed to match the flow of minimalism, universal design, and affordance design. A study method based on case practice is a consideration of how to consider content on shapes and colors specialized in the partial design work, and proposed to enable graphic production of new areas of UI UX in content images to be feasible. Through this study, the design direction and planning of the derivative method of shape and color was reached by suggesting design directionality and validity for each AI CARE bed PART.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.195-199
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• 2006

In the field of video design, motion graphics tends to be realized to deliver a certain message properly incorporating basic motion graphics components such as space, form of expression, and time, and has continued to be used as a powerful communication tool. Many cases proved that title sequences were produced as a result of combination of a variety of quick images and effects with appropriately chosen sounds to meet the demands of audience. This study indicated that motion graphics began to be widely used as a more powerful video communication tool for title sequences and also applied for M-NET, DMB, CABLE TV, IPTV, and others.