• Architectural research
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• 제1권1호
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• pp.1-10
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• 1999

During the first twenty-six years of its existence from 1954 to 1980, Keimyung University established on its Daemyung Campus a unique community of Western period-style buildings which recalls an old liberal arts college in America. During the first fifteen years, Keimyung built basically in the neo-Georgian style in accordance with the visions of the first two presidents, both of American nationality. During the next eleven years when Keimyung considerably expanded its facilities, it built in the neo-Classical style. The architecture of the Daemyung Campus is not without dynamism as it shows some efforts to integrate the expressions of the historical and the modern, culminating in the Main Library. The Daemyung Campus thus presents an interesting case study of how Western period-style architecture was assimilated in a provincial Korean city with a sense of an on-going building tradition.

• 고문화
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• 22호
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• pp.33-71
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• 1983

• 한국실내디자인학회논문집
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• 제23호
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• pp.50-57
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• 2000

The purpose of this study was to examine the application tendency about the elements of the western classical style which appears in Korean commercial space. The examined objects were 436 pictures of 106 commercial spaces from the different monthly magazines between Sep. 1994 to Sep. 1999. The results of this study were as follows: 1. The tendency of application according to the kind of space, it has appeared much in restaurants and cafes which are being made into high-class centering around Kangnam area. As for the single application in commercial space, Renaissance style was shown most, and the cases applied through the mixture of Renaissance style and Neo-classic style appeared most. 2. The tendency of application arroding to the composition elements of space, the wall of Renaissance style and N대-classic style appeared similarly, and the ceiling of Renaissance style, the window and door of N대-classic style, the column of Renaissance style, and the furniture of Rococo style were being applied much.

• 복식
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• 제50권4호
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• pp.21-36
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• 2000

History confirms that the eastern style was reflected in various parts of the western culture including clothing. In this paper we show some evidence that the influence of India on the French clothing during the neo-classical period(1789-1820) was substantial. Among others, the use of muslin, kashmir shawl and banyan during the period is greatly emphasized. The muslin imported from India was used as the textile for the chemise mown, a typical clothing during the period. Indian muslin was used, because it was of better quality compared to the muslin manufactured in England and France and it was not expensive. The kashmir shawl imported from kashmir in India was also a popular item in Europe not only because it matched well with simple color of chemise gown, but because it expressed the tone of Greek and Roman. Banyan which was most popular clothing worn by men in 18th century Europe originally came from India, which goes back to the Kaftan clothing in the Central Asia. Banyan was an informal home style clothing different from the conventional tight men's wear. It is true that the muslin, kashmir shawl, and banyan also became fashion items throughout the 19th and 20th century to the English and other European people. However, we limited our attention to the influence of India on France because we think the French Revolution and Napoleon's conquest of Egypt are far more important factors when considering the influence of Indian culture on Europe.

• 패션비즈니스
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• 제15권1호
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• 디자인학연구
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• 제13권4호
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• pp.115-123
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• 2000

본 연구의 목적은 서양에서 오랜 역사를 통해 발달해 온 시대별 고전 양식이 현재 한국의 주거공간에 어떻게 적용되고 있는지의 경향을 파악해 보고자 하는 것으로 최근 5년 간 발행되었던 6개 종류의 관련 전문잡지를 조사하여 사양 고전양식으로 시공되거나 코디네이션된 주거공간 99사례의 사진을 조사하고 공간유형별, 실내구성요소별로 분석하였으며 그 결과는 다음과 같다. 1. 한국의 현대 주거공간에 나타난 서양고전양식의 공간별 적용경향을 보면 아파트와 단독주택에서 많이 적용되고 있었고, 실별로는 거실, 부부침실, 식당 순이었으며 거실에서는 차분하고 안정감을 주는 직선의 신고전 양식이, 침실에서는 부드러운 곡선의 로코코 양식이, 식당에서는 식탁과 의자등 가구에 로코코 양식이 쓰이고 있었다. 한편, 단일적용으로는 로코코 양식과 신고전 양식이 비슷하게 많이 나타났고 혼합적용 또한 로코코 양식과 신고전 양식이 혼합된 경우가 가장 많이 나타났다. 2. 한국 현대 주거공간에 나타난 서양고전양식의 실내구성요소별 적용경향은 신고전 양식의 벽, 르네상스 양식의 천장, 신고전 양식의 천장, 신고전 양식의 창과 문, 로코코 양식의 가구, 로코코 양식과 신고전 양식의 장식이 많이 적용됨으로써 로코코양식과 신고전 양식이 우세하였다. 이들은 원형보다는 변형으로 적용된 경우가 압도적으로 우세하였다.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.179-187
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• 2013

The purpose of this study was to explain the uniqueness of tropical space style by identifying it in Southeast Asia. For this purpose, literature review was examined from 26 specialized tropical space style books and categorized. Its results are expected to be used as reference materials in designing spaces related to Southeast Asia and for constructors planning to run their business in Southeast Asia or Korea. The results of categorization are as follows; 'Tropical Traditional', 'Tropical Colonial' and 'Tropical Modern'. First, in case of Tropical Traditional Style, the traditional styles are adopted in roof and some of traditional styles are adopted in walls, windows and doors. Second, in case of Tropical Colonial Style, Renaissance or neo-classical styles are adopted in most of columns, archs, windows and doors. The traditional styles are also blended. Third, in case of Tropical Modern Style, straight line designs are adopted dominantly. However, decorative objects of traditional style are used to catch eyes. In summary, traditional style are imbedded more or less in all of tropical style and particularly, decorative objects of traditional style are key elements representing tropical space.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.225-232
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• 2011

This study analyzed characteristics of space configuration and exhibition contents in the Neo-classism style museum while carrying out space syntax and visibility graph analysis. Therefore, this research has the purpose to survey the status of existing museum analyze their visual perception space structural characteristics and ultimately utilize their characteristics as basic data in planning out and designing space. As for the research scope, the research selected as research subject 4 Neo-classism style museum in Europe and US that composite set of room to room type and having major space. Research method is that the research analyzed the exhibition space of 4 art museums by using depth-map program which can analyze space with visual graph analysis function and analyzed the visibility among unit areas by each art museum integration and exhibition contents composition. In such analysis method, the research was able to Quantitatively analyze the visual characteristics of exhibition space that induce and adjusts the motion of audience. Visual perception quantitive analysis as in this research will enhance exhibition design by considering the correlation between audience and exhibited items when planning out art museum space to be established later on. Therefore, wien museum integration degree are high because of same openings direction and major space, Also another museums major space integrations are high level degree, and Exhibition area is set of high integration area. So, visitors can perceive exhibition contents easily.

• 한국실내디자인학회논문집
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• 제9호
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• pp.57-66
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• 1996

Sir John Sonae(1753-1837) was the most original English architect of 19c. his extremely personal style is superficially neo-classical but, romantic or ' picturesque' in its complicated and unexpected spatial interplay. The Soane's style was one of the curiosities of European architecture. Sir John Soane, like mackintosh, was best known for his interior spaces. He used his own house as a laboratory of spatial experimentation to develop his spatial ideas. The objective of this study was to examine his architectural style through his various architectural works and analyze . The Soane's Museum (his house, No.12.13.14 Lincoln's Inn Fields. London, UK) in order to find inter design elements which represent the best of Soane's interior design effects. As a result , this study found that Soane held no theories as to proportion . It gives the conditon of the building's freedom. He shows the ' primitivism facade and the simple neoclassical symmetry exterior arrangement. As interior design elements he used the layered structure, the natural skylight, the pendentive dome, the space in space, the pictures que style. These elements create magical interior space of the Sonane's Museum. THe spatial intrigue is further enhanced by various degrees of lighting that additionally emphasize the three-dimensional quality of the object loaded walls and piers. One can always look through to space beyond many individual object, both horizontally and vertically. These interior elements can be used for the modern interior design development in order to create the expansion of space and the territoriality of space.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.