• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korean housing association
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• v.17 no.5
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• pp.27-37
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• 2006

This paper analyzed statistically two corpora that were constructed from the texts about house designs written by Korean architects and PA Awards architects. The main results are as follows; (1) The numbers of words in Korean house-design corpus were 9,352 and those of words in PA Awards house design corpus were 2,379. The former were 18.7% and the latter 4.8% of about 50,000 words regarded as the rest using scale in actual life. (2) When the architects described their house designs, the lexicon-concentration phenomenon was pervasive in both groups. Therefore, we can infer that the high-frequency lexicons are very important in house design. (3) The architects' behaviour patterns of using the house-design lexicons, went by rules according to the word frequency order. The tendency formulas of them had the $R^{2}$ values which were more than 90%. (4) In Korean house design corpus, the high frequency lexicons were '공간', '층', '주택', '집', '대지', '거실', and '실'. In PA awards house design corpus, they were 'house','room','space','living','wall','level' and 'area'. From these results, We can tell that 'space' is the highest frequency word in house design of the two groups, and that '대지 ' and 'wall' are the words that reveal well the differences between the two groups.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.306-325
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• 2017

This study analyzed how a time-honored fashion house has harmonized its design identity over a sustained period with its successor designers. Givenchy Fashion House was selected as the subject of this study. This study focused on literary research, analyzed design features and fashion images based on photos of Huber de Givenchy's collections (1952-1995) and collections by Riccardo Tisci (2006-2016), the creative director of the house. Photos were gathered from books and fashion websites; in addition design was analyzed based on a review by experts on collections. The results are as follows. Hubert de Givenchy won fame for simplified modern elegance that presented a new beauty for modern women and reached the peak of his career from the 1950s to the 1960s. Riccardo Tisci respected the couture tradition of the Givenchy Fashion House. He successfully revitalized the house by simultaneously emphasizing his personal design features and reinterpreting the design identity as well as tried to establish new house signatures. In conclusion, the original design identity of the Givenchy Fashion House is based on Hubert de Givenchy's timeless modern elegance that has been reformed by Riccardo Tisci as romantic goth and sensual elegance.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• Journal of the Korean Institute of Rural Architecture
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• v.20 no.2
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• pp.19-28
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• 2018

This study investigated the basic data of architectural design about framework dimensions inherent in a folk house of Yeosu city generally and systematically. We investigated the common dimensions of framework constitution for folk house (main building) seen a lot in Yeosu city. Most of the folk houses in Yeosu city were common people houses built from the end of 19th century to the 1960s and have maintained the same style for a long time. As a result of the study, common dimensions were calculated in two ways. One is Front toi/3ryang house and the other is Front/back toi/2kozu5ryang house. Front/back toi house was large in the case of full width, total height, and member thickness but, width of the front kan is no big difference. In other words, the scale of Front toi house and Front/back toi house is difference only in the rest except front kan (width). Among calculated common dimensions, the front kan of Front toi house and Front/back toi house in the plan, the kitchen is the widest, and the size is the same at 8.7 chucks degree. The next became small little by little in order of room 1(main room), room 2(center room), room 3(end room). As a result, the size of the room 3 of Front toi house reaches 7.7 chucks, and room 3 of Front/back toi house reaches 8.0 chucks. In the section dimensions, pillar height is in sum of floor height and pillar core height, Front toi house is 7.9 chucks, and Front/back toi house is 8.2 chucks. The investigation of basic data of architectural design is not only makes possible to grasp specific and simple to three-dimensional universal aspect on framework dimensions, but also documentation of folk house design know-how is done, and the architectural design standards of Korean folk house is written in the contents according to the area.

• Journal of the Korean housing association
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• v.7 no.1
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• pp.117-126
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• 1996

The purpose of this paper is to develop formal design principles towards flexible house plan. A flexible house plan accomodates spatial requirements corresponding to change of life style and provides a way of saving architectural materials. Design properties as a basis for manipulation of room includes adjacency, orientation and geometrical information which are suited well to flexible design. This paper has developed a formal grammar of shape which can be utilized to transform house plan. Flexible design presented here is based on the idea of various operations of the shape grammar. The shape grammar, as a set of rules, specifies manipulations of shapes for reorganization of spatial relationships of rooms in a house plan. It lists exemplary rules in control knowledge which guides design processes for modifying a plan. An example taken from house plan design is used to ilustrate important aspects of the flexible design which fundamentally provides the basis for architectural material saving.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.57-65
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• 2005

This research is about the methods in making computers understand the situation in regards to interaction between House and Human Behavior. In this paper, house is the ubiquitous house, as a future house, adopting ubiquitous computing presenting the interrelation of human and house - interior space, architecture, nature. And the Context Aware Model of ubiquitous house is proposed to embody the ubiquitous house. The research objective is to systematize the context in the ubiquitous house and suggest a theoretical basis to embody the ubiquitous house interacting between the House ud Human Behavior Especially, this paper focuses on the Context Aware Model based on FengShui-Theory(sp. YangTaek-Theory). The ubiquitous house is not what operates passively by human but a information-oriented house that can predict the situation and the living patterns of human. For a information-oriented house and informal living context at home, this paper uses FengShui-Theory whose central concern is the interrelation of human and nature. Through these concepts, this research will suggest how to systematize, control and manage the context at home. In the end, it is expected to offer a theoretical basis to embody the intelligent house and apply an environment design communicating between the computers and human.

• KIEAE Journal
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• v.6 no.4
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• pp.41-50
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• 2006

A greater number of persons with disabilities including an increasing number of aging population has brought concerns on diversity and equality in use of products and environments. Universal design concepts have been introduced rapidly and widely in the built environments in Korea. The purpose of this study was to analyze a model house built in 2006, in the U.S. as a universal design home, systematically examine the universal design model house features, and explore possibility of application of the universal design features in the U.S. into a Korean setting. For this study, site analysis and contents analysis methods were used. Although housing norm, behavioral patterns and environmental contexts would be different, majority of universal design features appeared in the model house were expected to apply. Overall universal design features in the model house sought for attractive, comfort, convenient and safe environment with a little cost. Universal design features in the model house appeared in unobtrusive ways. Universal design considerations on floor materials in living room and bath and furniture arrangement need to modify or replace according to Korean lifestyle.

• Archives of design research
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• v.20 no.2 s.70
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• pp.17-28
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• 2007

Despite a current fascination with East Asian iconography such as Zen Style among contemporary designers, there is a lack of genuine cross-cultural discourse that could enable us to share essential design experiences. To bring the discussion a deeper level, traditional Japanese tea-house in its design philosophy of body-mind interplay is explored. Tea-house is a superb manifestation to reveal a holistic understanding of the world. Nondualistic realization is generally associated with the dominant tendency of traditional East Asian philosophy, namely the view that the self and environment, and that the mind and the body exist in unity. The essence of tea-house is not in its poetic style or meticulous details, but in its unmistakably monistic approach of creating inseparable form, function and meaning. Tea-house bestows dignity upon restraint, imperfection, discomfort, poverty, and even humility. This concept offers a tremendous insight since it implies that the rational and effective design solution to the greatest degree is not sufficient. Perhaps the most challenging question about tea-house is: How does our experience with human-made 'design' in the broadest sense help both our body and mind attain a full harmony of being? It is the heading which this research inquires.

• Journal of Korea Multimedia Society
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• v.21 no.3
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• pp.423-431
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• 2018

In this paper, we try to verify a normative module based house design procedure consisted of several sequential steps. The first step is to suggest formalization of designing so that we could clarify each phase and operation we are adopting in our design process. The second step is the clearing up the conceptual schema of traditional skills that we adopt and utilize from traditional Hanok framing techniques. The third step is to formulate adequate modular kits for the assembly of house design solutions for the schematic, conceptual and preliminary phases of designing. The fourth step is to implementing our ideas and methods to a proper computational platform such as Unity3D. The final step is to verify our symbolic descriptions of design formalization with the output of our experiments so that we have better understanding of design reasoning characteristics such as in house design.