• 국방과기술
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• 9호통권139호
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• pp.62-69
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• 1990

이탈리아 방위산업의 생산품목 및 설계에 관한 전반적인 설명은 불가능하지만, 미래에 대한 낙관주의가 지배적이라는 점은 중요한 것이다. 만약 기대한대로 물자의 수출조건을 완화할수 있는 법안이 통과되면, 무기공급국가로서의 세계 랭킹이 4위에서 12위로 떨어질 방위산업계의 앞에는 밝은 미래가 있다. 새로운 생산품과 설계는 제쳐 놓고라도 이탈리아 방위산업은 세계시장에서 우수한 잠재력을 갖고 있다고 볼수 있다.

• 복식문화연구
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• 제19권1호
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• pp.128-149
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• 2011

This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.

• 대한가정학회지
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• 제41권8호
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• pp.33-53
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• 2003

A Study on the color comparison of Korean Saek-dong and Italian futurist fashion It is generally recognized that the color scheme and its characteristics as a product of living culture are strongly reflected in clothing. This study concentrates on the color comparison of Korean Saek-dong which has been used in traditional Korean clothing and Italian futurist fashion which showed dynamic characteristics and brilliant colors. The purpose of this study is to investigate the external format, emotions, functions and meanings of the colors in Korean Saek-dong and Futurist fashion, and to find similarities and differences between them. The results of the study are as follows. The similarities between them are harmony of vivid colors like a rainbow, no-use of black color and expression of rhythm through repeated geometrical shapes. They have been used as festive costumes and have implied meaning of happiness and pleasure. The differences, in the external formats, are as follows. Korean Saek-dong has striped patterns including the color white, and has regular distances among the stripes. But, Futurist fashion includes luminous or fluorescent colors and metallic colors. In addition, it has repeated motifs of geometrical shapes and geometrically divided areas. While Saek-dong expresses Sangsaeng through the conceptual use of color, Futurist fashion shows simultaneity, speed and dynamics through spiritual functions of crossing and inter-penetration. In emotional aspect, Saek-dong expresses pleasure of children's mind and Futurist fashion expresses pleasure of city. In functional aspect, Saek-dons expresses a concept of ceremonial beauty, which is spiritual and symbolizes good auspices, holiness and sorcery. So it is used for ceremonial costume. But, Futurist fashion reflects the harmony of colors created from modem and urban images and shows the willingness and emotion of solving futuristic avant-garde, modernity, dynamics, transformation and bellicosity. So it is used for daywear. While Saek-dong represents succession of tradition, Futurist fashion represents resistance of tradition in cultural aspects.

• 복식문화연구
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• 제8권1호
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• pp.102-114
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• 2000

The works of the Futurism were developed along with manifestos and statement in publishing. Futurist aesthetic and ideological agenda on futurist fashion displayed in manifestos on clothes. Futurist fashion propagated in consummate Futurist style through the written manifesto. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men's Clothing, men's clothing is aggressive, agile, dynamic, simple and comfortable, hygienic, gay, luminous, volatile, asymmetric and variable. In Futurist Manifesto on Woman's Clothing, woman is now a principal agent of revolt, a walking synthesis of the audacious, performance-oriented aesthetic of the futurist universe. For Futurist woman's clothing they claimed ingenuity, daring, and economy. The Futurist Manifesto of Italian Hat was continued with their provocative style and radical ambition. Their innovation will rescue a lagging Italian expert and restore the Italian male to his former Iatin Vigor. Speed, dynamic, utility, and funtionality are the main characters. In Futurist Manifesto of Italian Cravat, Futurist cravat is called Anti-cravatta, which is anti-traditional style and made of unconventional materials. In general, the Futurist argued for clothes that promoted simple and functionality. These Futurist fashion project were invention of the new style, avant-garde style, in daily wear and were realized for the renewal of taste in clothing design as a modernizing factors.

• 건축역사연구
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• 제17권6호
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• pp.67-86
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• 2008

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.