• 한국디지털건축인테리어학회논문집
• /
• 제9권3호
• /
• pp.77-83
• /
• 2009

Van Doesburg founded the magazine De Stijl with Mondrian in 1917. De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy. De Stijl proposed ultimate simplicity and abstraction by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. Vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements In 1924 their different concepts about space and time were split between Van Doesburg and Mondrian. Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism. The works of De Stijl would influence the Bauhaus style and the international style of architecture.

• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
• /
• pp.69-72
• /
• 2001

We are defined a space as the activities of creating value in harmonic relations between human and environment. After Industrial Revolution, relations between human and space is changing because of speed and visualization's power in contemporary society. We we known information where is far by means of visualization. There is only difference of speed. Movement in space means the line of vision and circulation. But it is tried to think relations between human and space again in result to experience indirectly. This study aims at the analysis of expression of the modem Architecture space in Giedion' Space, Time, Architecture and aesthetic systems applied to it. On the basis of that , this study analyzed the difference of Bergson' consideration from Modern Architecture about movement.

• 한국조경학회지
• /
• 제33권1호
• /
• pp.33-48
• /
• 2005

The purpose of this study was to discover the landscape visual image of the slope scene and their harmony with surrounding sceneries. This research utilized the basic study tool of psycho-physics and processed the case study of ten types of slope construction scene along the highway. The analysis was performed by the data obtained from the questionnaires and the photos for the slope construction scene. The questionnaires for analysis the image of the slope construction scene and their harmony with surrounding sceneries were designed using semantic differential scale and 5 point Likert-scale. The major findings were as follows. 1. At the part of the visual preferences analysis, the slope revegetation methods showed high level of preferences generally than on the slope structure methods. While the slope revegetation methods were estimated friendly, continuity, harmonious, soft, light and wide, the slope revegetation methods were estimated unstable, female, static, simple, omnipresent, appeared as policeman of weak inclination. Also the slope structure methods were estimated stable, manly, complicated, steep and healthy but rough, unharmonious, unfamiliar and heavy. 2. Psychological factors, related to the satisfaction for the slope revegetation methods were composed of three factors, aesthetic, individuality and physical character. And the slope structure methods were composed of five factors, aesthetic, individuality, stability, physical character, and complexity. 3. At the part of harmony with surrounding landscapes, the slope revegetation methods were evaluated highly but the slope structure methods received the lowest evaluation. Also the harmony analysis with surrounding view on the slope revegetation methods showed degree of high more than average in all texture, form, color and scale but the slope structure methods showed degree of fewer than average degree in form, scale, color and texture.

• 한국실내디자인학회논문집
• /
• 제19권3호
• /
• pp.119-127
• /
• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• 한국조경학회지
• /
• 제32권4호
• /
• pp.94-104
• /
• 2004

This study creates the LCP (Landscape Control Point) through the survey of spot sites for the quality of landscape assessment, which is based on an objective and departmentalized data base; the landscape assessment was achieved by production of weight value with the AHP (Analytic Hierarchy Process) technique, selection of requisites for the landscape assessment with the IVERSON method and visual area analysis with GIS (Geographic Information System). Futhermore, validity of the landscape assessment was verified by analysis of the correlation between physical amount and aesthetic amount. The purpose of this study is to suggest the basic essential data for landscape assessment and landscape planning by the characteristics of landscape based on verification of the suggested landscape assessment methods. The results of this study are summarized below. 1. In the adaptation of landscape assessment using GIS, the landscape assessment points of LCP 18, 17 and 16, which have more visible elements such as hill area, mountain area, and forest and farm land, were indicated to be higher than the others. In contrast, the landscape assessment points of LCP 13, 6 and 10, which have less visible elements, were relatively lower than the others. 2. In the visible preference measuring method, LCP 4, 14, and 16 showed high points of landscape assessment with 3.46, 3.4, and 3.18 each. With the more natural environments such as hill area, mountain area, and forest and farm land, higher results were shown. In contrast, LCP 7, 1, and 9 showed low points of landscape assessment with 2.24, 2.36, and 2.53 each. 3. In this study, a coefficient of 0.746 was gained by the analysis of correlation between the points of landscape assessment method and the points of visual preference from a slide show. This has 99 percent of probability in statistical data. 4. In conclusion, with the demonstration of the correlation between the landscape assessment method based on the AHP technique and the aesthetic amount (preference proportion), the practical use of landscape assessment can be demonstrated by the suggested landscape assessment method.

• 한국실내디자인학회논문집
• /
• 제20권6호
• /
• pp.218-227
• /
• 2011

Korean commercial architecture is based on two distinctive characteristics of western modern architecture: grid frame structure and free facade. However, the original facade of the building disappears as numbers of commercial advertisements and signboards representing inner programs cover up the original facade. This is a unique feature of commercial architecture in Korea which I would call the surface phenomena of Korean commercial architecture. Common criticism on this type of building is that too many and too big signboards infringe upon the original pure facade of the architecture. Underlying assumption here is that signboards and commercial ads are inessential and decorative elements simply attached to the original pure facade of modern architecture. However, in this paper, I argue that commercial decorations is an essential aspect of korean commercial architecture rather than an inessential decorative element attached later to the essential facade of architecture and that it reflects the historical specificity of cultural and architectural modernity of Korea And thus, the surface phenomena of Korean commercial architecture should not be judged based upon the aesthetic paradigms of either western modern or postmodern architecture. Rather, it can be argued that surface phenomena of Korean commercial architecture is a reflection of a modernity beyond the paradigm of western modernism and postmodernism. The agenda of Korean commercial architecture is then not simply to restrict or to control signboards on the building facades with the intention to clean up facade of the building but rather to integrate the signs and commercial ads with the structure of architectural surface.

• 복식
• /
• 제56권7호
• /
• pp.126-141
• /
• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 복식
• /
• 제56권9호
• /
• pp.66-82
• /
• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 국제학술발표논문집
• /
• The 6th International Conference on Construction Engineering and Project Management
• /
• pp.602-603
• /
• 2015

Despite all efforts to reduce construction disaster, construction site accident rate has steadily increased in Korea since 2008. As a different approach from traditional research, there is a growing issue about design for safety concept to prevent construction disaster. The notion is that construction worker's safety need to be considered at design phase, not only at construction phase. Globally, the notion has been noted that to improve the safety of the worker and used in practice. However, in Korea, most of safety management guidelines are limited to construction phase. From recent statistics, only 1.4 percent of designer feel responsible for safety accident at construction site. In this circumstance, this research find out safety guidelines through literatures reviews and practical experience of safety management in other country which apply design for safety concept. Selected guidelines are verified by survey which is evaluated with risk, function, cost, time and aesthetic view categories. Through the survey, define guidelines which could be effectively applied in Korea. By using proposed safety guidelines for design phase, preventing construction accident and improving designer's recognition of safety issue at design phase are expected.

• 한국조경학회지
• /
• 제49권5호
• /
• pp.125-137
• /
• 2021

도심에 위치한 좁고 오래된 골목길이 뜨는 상권이 되어 사람들의 발길을 끄는 현상을 미학적 관점에서 어떻게 설명할 수 있을까. 본 연구는 이면도로라는 입지와 소규모 점포의 집합을 조건 삼는 도심 골목상권 특유의 미적 경험을 논하고, 서울시 관악구에 위치한 샤로수길을 사례로 하여 그 경관적 양상을 탐구하고자 한다. 도심 골목상권의 미적 경험은 공간적 측면에서 크고 정제된 대로변 도시 조직과의 대비를 통해, 시간적 측면에서 오래된 것/새로운 것의 조화와 알려진 것/덜 알려진 것의 길항을 통해 발생한다. 샤로수길의 물리적 현황을 살펴본 결과, 2000년대 지어진 고층건물을 지나 1970년대 후반 이후의 다양한 건축연한을 지닌 저층 건축군으로 들어서는 진입 과정과 노포, 신규 점포가 어우러지는 골목 내부의 가로 경관으로 볼 때 샤로수길은 도심 골목상권의 미적 경험을 발생시키는 환경을 갖추었다고 판단된다. 샤로수길의 도심 골목상권 부상과 연계하여 관악구청은 명칭, 간판, 포장을 중심으로 가로 정비사업을 시행하였으며, 전술한 미적 경험에 비추어 그 영향을 검토한 결과는 다음과 같다. 첫째, '샤로수길' 명칭의 공식화는 대상지를 장소특정성으로부터 탈피하게 하고 대안성을 획득하게 하였다. 둘째, 노포의 간판 개선사업은 상업 주체의 측면에서 신/구 조화를 추구하지만 이미지의 측면에서는 시간성의 뒤섞임을 발생시킨다. 셋째, 보행자우선도로 조성 사업에서 노면의 포장은 골목 정체성을 강화하고 영역을 가시화하는 장치로 기능한다. 도심 골목상권의 현실이 이용자의 방문, 즉 체험에 좌우된다는 점을 상기할 때, 감각과 미학의 관점에서 도심 골목상권의 경관을 해석한 본 연구의 시각은 관련 제도와 데이터 기반 연구에 시사점을 줄 수 있을 것이다.