This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen’s men’s fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand’s official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.

글로벌 게임시장의 성장에 따라 국내 게임이용자도 손쉽게 다양한 국가에서 접할 수 있게 되 었다. 그리고 이러한 글로벌 경쟁 속에서 현실의 다양한 문화 창의적으로 반영한 게임이 점증 하고 있다. 대표적인 것이 중국의 호요버스가 개발한 해제 월드 형<원심>으로, 해당 콘텐츠는 캐릭터와 공간디자인에 다양한 국가의 문 것이 특징이다. 이때 의상디자인은 캐릭터의 성격과 매력을 효과적으로 이국적인 특색을 드러내는 기호라는 점에서 특히 중요하다. 이에 이 글은 먼저 캐릭터 의상과 의상 기호에 관한 검토하고, <원심>의 문화 활용 전략을 간단히 살펴보았 다. 이후 퍼스의 기호학을 활용해 중국의 문화적 특색을 반<원신> 캐릭터 ‘운근’을 분석하였다. 분석 결과, <원신>의 캐릭터 디자인전략은 중국의 풍부한 문화적 문맥을 중심 코드를 적극적으 로 빌리는 한편, 캐릭터 성을 부각하는 방향으로 의상 구성요소를 변형 시 나타났다. 이후 분 석 결과를 바탕으로 차후 연구를 위한 발전 방향을 제시하였다..

This study was aimed at examining the characteristics of women’s blue denim on the basis of design elements to provide fundamental data for fashion majors and fashion designers. Seven design elements were selected from previous studies to compare them with the following characteristics of blue denim: color (washing, dyeing), ornamentation (trimming, detailing, painting, and printing), and form modification, tearing, and ripping). Data from 1,520 photographs of the 2019 S/S to the 2023–24 F/W collections were collected through overlapping checks. The data were then subjected to frequency analysis using the Statistical Package for the Social Sciences (version 26). The results are as follows: The most frequent design method used in producing the denim items in our sample was washing, followed by modification, tearing, and ripping and detailing. The greatest change in denim design occurred in 2023, and more design element changes were observed in the F/W season than in the S/S season. Washing was used four times or more frequently than dyeing, while detailing was employed approximately 2 times more often than trimming. With respect to form, the most common approach was modification, followed by tearing and ripping.

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr’s image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

This study analyzes traditional women’s Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the “moment” theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

In this study, magnetic characteristics of two models of permanent magnet actuator applied and used in the Recloser were studied, and the new model design was verified using numerical analysis on the operation and current characteristics of the magnet actuator accordingly. Such as the Recloser require fast operation characteristics to open the fault current, so when the moving and fixed contacts of a magnet actuator with permanent magnets that generate holding force come into contact, a high holding force is required, and when it open to circuit, the magnetic force is rapidly reduced. It demands very high performance. Therefore, the speed characteristics and current characteristics of the contact points of the magnet actuator for which the design was completed were compared.

This study aims to investigate the socio-cultural background of Poulaines, which influenced fashion and contemporary shoe design. Analyzing the characteristics of the Poulaines provided basic data for different shoes. The study method utilized previous studies to explore the concept and characteristics of Poulaines. In the empirical analysis, shoe design data mainly came from collections that illustrate formative elements of contemporary shoe design from the 2010 S/S season to the 2020 S/S season. A total of 709 photo materials were collected and analyzed. The results showed that the morphological characteristics of Poulaines were exaggerated to symbolize classes of the past and sexual expression. The expanding structure was divided into the fore nose, heel, and top-line and featured a design that expressed the formative beauty of Poulaines. Additionally, the decorative desire to represent wealth and class using various materials introduced new designs into contemporary shoe designs while showing extreme decorativeness through over-trimming and color contrast. Furthermore, the heterogeneous characteristics that come from the change and harmony of the shoes’ body and heel that deviated from the existing shoe shapes were classified into the dissolution of shapes and mixing and matching. Thus, they broke the monotonous silhouette of shoes and gave variety delicately.

본 글은 선조 17년(1584)과 18년(1585)에 개최된 기영연(耆英宴)을 그림으로 기록한 <선조조기영회도(宣祖朝耆英會圖)>를 중심으로 16세기 사연용(賜宴用) 화준(花樽)과 주 준(酒樽)의 조형 특징을 구명하고, 사연에 있어서 두 종류 준(樽)의 진설 방식과 및 진설 의 미를 고찰하였다. 연회에 등장하는 여러 기물 가운데 준화(樽花)를 꽂기 위한 화준(花樽)과 선온(宣醞)을 담았을 것으로 보이는 주준(酒樽)은 16세기 관요에서 제작된 좋은 품질의 백 자․청화백자로 추정된다. 사연용 화준은 조선 전기 국가 의례서(儀禮書) 및 조선 후기 궁 중연(宮中宴) 관련 기록에서 확인되는 호(壺)와 재질․기형․품질에서 크게 다르지 않았을 것이다. 그러나 장식에 있어서 문양을 생략하거나 청화(靑畵) 문양이 장식되었을 경우 소재 는 대나무․매화․화당초문 등 화훼문(花卉文) 계통을 채택함으로써, 사연의 설행(設行) 목적을 투영하는 동시에 궁중연 용준(龍樽)과 차별화하였을 가능성이 있다. <선조조기영회도> 에 묘사된 주준용 뚜껑은 입구의 가장자리가 위로 살짝 들려 있는 특징에 기인하여 연엽(蓮 葉)형 뚜껑으로 명명하였다. 연엽형 뚜껑은 국가 의례용기, 가마터 출토품, 전세품 등에서도 공통으로 확인되고 있는 만큼, 뚜껑의 사용처와 용도에는 왕실 및 사연용 주준이 포함되었을 것이다. 16세기 <선조조기영회도>의 화준․주준 진설 방식과 사연도(賜宴圖) 속 진설 방식 을 종합해보면, 16세기 화준은 다양하고 유연한 방식으로 진설 되지만, 주준의 경우 획일화 되고 고정된 진설 방식을 보인다. 화준․주준의 진설 방식은 연회의 주최자인 왕의 교체, 임 진왜란으로 인한 제작 여건 및 관련 기록 소실로 인한 고증의 어려움 등으로 인하여 17세기 이후 점차 변하였을 것이다. 따라서 16세기 사연용 화준․주준의 진설 방식은 18세기 이후 양상과는 상반되었을 것으로 추정된다. 더불어 16세기 기영연에 화준․주준이 모두 진설 되 었다는 사실은 이 연회가 문헌에 기록된 바와 같이 우대된 사연임을 증명하는 또 하나의 근 거 자료로 활용될 수 있을 것으로 생각한다.

PURPOSES : The logistic roads for freight transport along to the new port of Busan have been suffered by the rapid weather changes including high temperature and torrential rain. As a result, the roads require annual repair, which have been distressed seriously by the heavy logistic and environmental loads. Therefore, we need to identify the cause of the road pavement distresses and find a proper design method to minimize the pavement distress in order to prohibit the problem aggravated. METHODS : The damaged conditions of the logistic roads were investigated on-site. In addition, applied pavement designs, real traffic volumes, and historical climatic information were intensively collected for this project. With the investigated and collected data Korean pavement design program (KPRP) was implemented to analyzed the causes of the damaged roads and conceive the pavement design draft optimized for the roads. RESULTS : According to the investigation and KPRP analysis, the traffic volume to transport freights impacts significantly the pavement distress, so that a higher PG grade binder type should be used, for which polymer modified asphalt (PMA) binders are recommended. Moreover, its pavement thickness should be increased to secure load bearing capacity, but thickening the pavement has been discouraged due to difficulties induced by the road-sectional change, especially road-height change. CONCLUSIONS : In conclusion, 5cm PMA overlay is suggested for the normal-scale maintenance, and 7cm PMA overlay for large-scale maintenance. Besides these, the application of Polymer-modified Stone Matrix Asphalt (PSMA) using PG76-22 binder would be the best preventive maintenance method, which has been well know as having higher fatigue resistant performance than general PMA. However, if we use PSMA, quality control should be very cautious since PSMA can be very susceptible premature distress if its production and construction are improperly proceeded.

본 연구는 일제강점기에 표정(瓢庭) 송병우(宋炳宇, 1874∼1944)가 조영한 익산 함벽정원림을 대상으로 문헌조사, 현장조사 그리고 관련자 인터뷰 등을 통해 원림의 특성과 전환기적 조영 양상을 추적한 것이다. 조선시대 선비들의 삶과 정신세계의 소중한 결정체였던 누정문화가 일제강점기라는 정치·문화적 과도기에 어떻게 계승, 변동되었는지를 살펴봄으로써 전환기적 시대 문화가 지역의 근대 정원문화 담론(談論)에 어떤 역할을 끼쳤는지를 조명하고자 한 본 연구의 결과는 다음과 같다. 함벽정의 입지와 규모 그리고 기능과 구조를 보았을 때 함벽정 일대는 별서원림으로 서의 성격이 있는 것으로 파악되었다. 함벽정 지붕의 소재인 붉은색 자기와(磁器瓦), 기단·초 석·기둥의 형태, 계단 입구부의 장식성, 공포결구 수법, 사각기둥과 사분합의 문비(門扉) 그리고 화려하고 다채로운 단청과 지붕 합각부의 ‘쌍희자(雙喜字)’ 길상문 등은 일제강점기 지역의 경제 강자가 보여줄 수 있는 전환기적 의장기법의 양상으로 파악되었다. 공간 및 시각구성 그리고 시설 배치 상의 전환기적 설계양상으로는 정자의 규모 및 암대(巖臺)를 활용하여 이루어진 축산(築山), 적극적인 읍경(挹景)의 조망처리기법 그리고 급경사지역에 형성된 5단의 화계(花階)에 적용된 돌쌓기기법을 들 수 있다. 또한 함벽정원림 조성 이후 일제강점기라는 시대상황 아래 일제의 수리사업에 동조와 유지관리 과정에서 행해진 양버즘나무, 왕벚나무 등의 대체식재나 보완식재는 전통식재의 규범 혼란 속에서 나타나는 식재상의 전환기적 양상으로 추찰된다.

In this study, six mainland Chinese designer brands—Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen—were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

본 연구는 대전 스카이로드 미디어 파사드의 공공 디자인 평가와 감성 평가의 특성을 살펴보고자 하였다. 이를 위해, 대전 스카이로드 미디어 파사드 영상물을 시청하여 대상자들이 미디어 파사드의 공공 디자인 평가 항목과 감성 어휘로 구성된 감성 평가 항목에 응답하도록 하였다. 그리고 인구통계학적 변인에 따른 대전 스카이로드 미디어 파사드의 공공 디자인 평가 결과의 평균 비교를 진행하고, 감성 어휘의 요인 구조를 도출하여 각 요인에 포함되는 감성 어휘를 바탕으로 공공 디자인 평가 요인과의 상관분석을 진행하였다. 그 결과, 대상자들의 성별, 미디어 파사드 경험 여부, 연령에 따라 일부 차이 및 경향성을 보이는 공공 디자인 평가 항목이 존재하는 것으로 나타났다. 한편, 감성 어휘의 요인 구조로는 총 14개의 어휘가 4개의 요인 구조로 구성되었으며, 모든 공공 디자인 평가 요인에 걸쳐 공통으로 관련성이 높은 감성 어휘로는 “쾌적한-불쾌한”이 존재하는 것으로 나타났다. 이는 주관적으로 쾌적하다고 인식되는 감성이 공공 디자인으로서 대전 스카이로드 미디어 파사드의 주된 가치로 평가될 수 있음을 시사한다. 다만, 성별과 연령을 고려한 정책이 반영되어 대전 스카이로드가 운영된다면 공공 디자인으로서의 가치가 더 향상될 수 있을 것으로 기대된다.

Eutrophication and algal blooms can lead to increase of taste and odor compounds and health problems by cyanobacterial toxins. To cope with these eco-social issues, Ministry of Environment in Korea has been reinforcing the effluent standards of wastewater treatment facilities. As a result, various advanced phosphorus removal processes have been adopted in each wastewater treatment plant nation-widely. However, a lot of existing advanced wastewater treatment processes have been facing the problems of expensive cost in operation and excessive sludge production caused by high dosage of coagulant. In this study, the sedimentation and dissolved air flotation (SeDAF) process integrated with sedimentation and flotation has been developed for enhanced phosphorus removal in wastewater treatment facilities. Design and operating parameters of the SeDAF process with the capacity of 100 m3/d were determined, and a demonstration plant has been installed and operated at I wastewater treatment facility (located in Gyeonggi-do) for the verification of field applicability. Several empirical evaluations for the SeDAF process were performed at demonstration-plant scale, and the results showed clearly that T-P and turbidity values of treated water were to satisfy the highest effluent standards below 0.2 mg/L and 2.0 NTU stably for all of operation cases.

This research investigates and analyzes the distribution, creation period and creators, design characteristics, and process of change undergone by existing meandering streams used for the floating of wine cups(Liú shāng Qū shuǐ) in China. This study was conducted through literature review, fieldwork investigation and internet research. This research presented a categorization method and standard for discussion toward future research in this field by first categorizing Liú shāng Qū shuǐ facilities into five style categories: Lántíng style(A), Natural stream style(B), Cut stones excavation style(C), Broad natural rock carving style(D) and waterway style(E); this classification was carried out in addition to categorizing the Curved-stream banquet sites of B and C that are characterized by the stone carving style into the subcategories of Cut stones excavation and Broad natural rock carving styles. It is said that the ancient Liú shāng Qū shuǐ facilities of China are the product of natural landscape water systems and Pungryu(elegant lifestyle) culture; from the middle ages of the Tang and Song dynasties, garden forms changed to reflect miniascapes and an imitation of a landscape style, which represented a gradual transition from a tradition that entailed moderation in drinking and natural landscapes that copied Pungryu to those that were symbolic and placed more emphasis on games and amusement. Later in the modern Ming and Qing dynasties, the Cut stones excavation style became the mainstream approach for Curved-stream banquet sites. From this development, it seems that the Curved-stream banquet sites of China gradually evolved from Pungryu facilities used for water systems to garden facilities for amusement. However, the Lántíng⋅Natural stream⋅Cut stones excavation styles seem to have been continuously passed down in eclectic forms throughout all periods of Chinese history.

최근 총톤수 16만 톤급 이상의 대형 크루즈선이 국내 항에 정기입항하고 있다. 크루즈를 이용한 국내 관광객이 증가함에 따라 정부에서는 크루즈산업 활성화를 위해 항만기반시설 확충에 많은 노력을 하고 있다. 현재 국내 주요 항구에서 크루즈전용부두 공 사가 진행되고 있다. 그러나 국내 항만 및 어항설계기준에는 크루즈선 및 접안시설에 대한 표준제원이 제시되어있지 않다. 대상선박의 표준제원이 제시되어있지 않아 전용시설물 설계 및 인허가에 많은 어려움이 예상된다. 그래서 본 연구에서는 크루즈선에 대한 표준제 원을 제시하기 위하여 현재 운항중인 크루즈선의 톤수별 대표선형의 제원을 분석하고 PIANC 사례 및 국내 항설기준을 비교분석 하였 다. 분석결과 크루즈선은 연안여객선과 선박제원 및 선박조종성능에 차이가 있음을 알 수 있었다. 따라서 크루즈 전용시설물 설계를 위해서는 반드시 대상선박의 제원이 국내항설기준에 반드시 포함되어야 한다. 그리고 선박의 범위를 산정하기 위하여 크루즈선 평균 제원 값에 커버율(75%)을 적용하여 크루즈선 표준제원과 수역시설물에 대한 기준을 제시하였다.