• 디자인학연구
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• 제2권1호
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

• 한국식품영양과학회지
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• 제43권8호
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• pp.1304-1316
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• 2014

본 연구는 음료 651건 및 액상차 87건의 인공감미료 실측치(아스파탐, 아세설팜칼륨 및 수크랄로스)와 제4기 국민건강 영양조사 중 영양조사의 섭취량을 이용하여 단위 체중당 비알콜성음료 섭취량이 가장 높았던 1~19세의 어린이 및 청소년을 대상으로 비알콜성음료를 통한 인공감미료의 추정식이섭취량(estimated daily intake, EDI)을 산출하여 평가하였다. 비알콜성음료의 섭취량은 어린이 및 청소년 6,082명 전체의 비알콜성음료의 평균소비자(average consumer)와 극단소비자(extreme consumer)의 섭취량을 파악하기 위하여 평균, 95 percentile 및 분포를 적용한 경우(시나리오 I)와 비알콜성음료를 섭취한 어린이와 청소년 1,074명의 섭취량 평균, 95 percentile 및 분포를 적용한 경우(시나리오 II)로 나누어 살펴보았다. 음료에 함유된 인공감미료의 건강 위해성 평가는 추정식이섭취량과 FAO/WHO에서 설정한 일일섭취허용량(acceptable daily intake, ADI)인 아스파탐 40 mg/kg bw/day, 아세설팜칼륨 15 mg/kg bw/day, 수크랄로스 15 mg/kg bw/day 값을 비교하여 %ADI로 평가를 하였다. 인공감미료의 인체노출량 계산에 필요한 몸무게는 국민건강영양조사 검진조사 자료를 이용하였다. 이때 위해도 평가방법은 평균과 95th percentile을 이용하는 단일값평가와 각 변수의 확률밀도함수(probabilistic density functions, PDFs)를 이용한 Monte Carlo simulation을 실시하여 확률평가를 하였다. 연구 결과를 요약하면 인공감미료는 아스파탐, 아세설탐칼륨, 수크랄로스가 평균 $3.21{\pm}28.36mg/kg$(ND~342.00 mg/kg, 검출률 1.4%), $1.94{\pm}12.55mg/kg$(ND~160.00 mg/kg, 검출률 4.5%), $6.18{\pm}23.27mg/kg$(ND~290.00 mg/kg, 검출률 10.8%) 함유되어 있었다. 또한 비알콜성음료에 함유된 인공감미료 중 아스파탐은 Min Extreme 분포, 아세설팜칼륨은 Logistic 분포, 수크랄로스는 Student's t 분포를 나타냈다. 비알콜성음료 섭취량은 어린이와 청소년 전체를 대상으로 한 시나리오 I에서는 대부분 Logistic 분포를 나타내었으나, 특히 소비자 집단만을 고려한 시나리오 II 경우에는 왼쪽으로 기울어진 Max Extreme 분포가 되었다. 체중은 시나리오 I이 Logistic 분포, 시나리오 II는 Beta 분포를 나타내었다. 그리고 시나리오 I에서 확률평가한 아스파탐, 아세설팜칼륨, 수크랄로스의 평균 추정식이섭취량은 각각 0.09, 0.01, 0.04 mg/kg bw/day였으며, 95th percentile 추정식이섭취량은 각각 0.30, 0.02, 0.13 mg/kg bw/day였다. 확률평가한 아스파탐, 아세설팜칼륨, 수크랄로스의 평균 %ADI는 각각 0.22, 0.04, 0.24이었고, 확률평가한 95th percentile %ADI는 각각 0.75, 0.13, 0.83으로 안전한 수준이었다. 시나리오 II에서 확률평가한 아스파탐, 아세설팜칼륨, 수크랄로스의 평균 추정식이섭취량은 각각 0.52, 0.03, 0.22 mg/kg bw/day였으며, 95th percentile 추정식이섭취량은 각각 1.80, 0.12, 0.75 mg/kg bw/day였다. 확률평가한 아스파탐, 아세설팜칼륨, 수크랄로스의 평균 %ADI는 각각 1.32, 0.22, 1.44였고, 확률평가한 95th percentile %ADI는 4.52, 0.80, 5.06으로 나타났다. 즉 비알콜성음료 섭취를 통한 인공감미료 중 아스파탐, 아세설팜칼륨, 수크랄로스의 노출수준은 일일섭취허용량(ADI)을 초과하는 인구집단은 없는 것으로 나타났으며, 시나리오 I II에서 아스파탐, 아세설팜칼륨, 수크랄로스의 평균 및 95th percentile %ADI는 모두 5.06이내로 낮은 수준이었다. 한편 섭취자군 중 인공감미료에서 검출률이 가장 높았던 수크랄로스의 경우 %ADI가 10 이상일 확률이 2.2%였다.