• Journal of the Korea Furniture Society
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• v.18 no.2
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• pp.152-160
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• 2007

The purpose of this study was to suggest a new approach to geometric abstraction for furniture design. For this study, Geometric abstraction that was done during 1917 through 1939 was investigated. Geometric abstraction is one form of pure abstraction and is mainly concerned with geometric elements and primary colors. De stijl and Bauhaus, which were emphasized groups during this period were influenced by geometric abstract arts. The purpose of this body of work has been to create furniture pieces that would express and embody my exploration and interpretation of geometric abstraction. The various compositions of geometric shapes, pure proportion, and primary color have been a focal point.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.374-387
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• 2009

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.

• Journal of the Korean Institute of Rural Architecture
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• v.26 no.3
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• pp.29-36
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• 2024

The purpose of this study is to define the characteristics of regional architecture shown in the landscape paintings of Paul Cézanne, who is called the father of modern art, and then to think over the form of regional house in Korea modern architecture. The subject of the study focuses on landscape paintings depicting landscapes among Paul Cézanne's post-impressionist works. The research contents are, first, to understand the landscape structural and cubical characteristics of primary psyche-scene landscapes in his thoughts and insight, and second, to understand the characteristics of regional architecture depicted in his landscape paintings. In this study, characteristics of color in his pictures were excluded, and I attempted to find the origins of pure cube, then tried to pull out the cubical from from Korean regional architecture. The research results are summarized as follows. First, more than 54.7% of Paul Cézanne's paintings are post-impressionism, and the fact that he chose landscapes as the subject of his paintings can be explained to show the value of primary psycho-scene. Second, the building depicted in Paul Cézanne's painting is a pure cube as bastide and mas that are local houses in the Aix-en-Provence region in southern France. Third, Korean cubical flat style of house in the village comes from De Stijl that was provided the concept of Cubism and Mondrian's neo-plasticism.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.30-37
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• 2007

This research is to find out the characteristics and significance of the plastic experiments with colored planes in Theo van Doesburg's works. Based on the analysis, the following results have been obtained. First, Thea van Doesburg's plastic experiments with colored planes started from the paintings in 1916-1918. series and series were made of the ion of still life or human motion. These paintings were intended to make effects of rhythm, acceleration and simultaneity. Second, he colored the outer and inner architectural surface with primary colors. The expression of visual. rhythm on the color design for De Vonk, Districts Housing Projects VIII & IX in Spangen, Multi-Housing in Oosterstraat, Friesian Housing, Landbouw Winter School, and University Hall in Amsterdam embodied the concept of painting-in-architecture. Third, the field of these experiments were extended into the architectural space. As a results, $H\hat{o}tel$ Particulier and Maison d'Artiste was shown on the Architectural Exhibition in Paris in 1923. The colored planes were used as a construction material. They generated the dynamic space in architecture. Fourth, through the pictorial works like Architectural Analysis, Contra-Composition, Simultaneous Composition or Simultaneous Contra-Composition, Tesseract and Aubette Cinema-Dancing Hall, he created the concepts of simultaneous integration including nature and the environments as well as space-time in the architecture.

• Journal of the Korea Furniture Society
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• v.16 no.2 s.30
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• pp.67-76
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• 2005

Bauhaus, founded in Weimar, Germany in 1919, represented Modernism which is proven in the field of art as well as architecture. Furthermore, in design field, Bauhaus is the essential historical event whose influence continues in contemporary design. Bauhaus furniture is simple and austere and has linear shapes which are suitable for mass production. Bauhaus developed functional furniture design such as knock-down and pre-fabricated furniture. In terms of finishes, Bauhaus furniture epitomizes the influence of De Stijl which used either achromatic colors and three primary colors or natural finishes of wood. Bauhaus contributed to furniture design field as below. 1. Success in mass-produced furniture through standardization and pre-fabrication 2. Pioneered on industrialization through collaboration between academia and industry 3. played essential role developing modem furniture by using not only metal but also such diverse materials as plywood, glass, and leather

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.191-204
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• 1992

This study is done in order to settle down as a Architecture Movement mainly had conducted by Theo van Doesburg. The process of this research is mainly focus on the Theo van Doesburg had used it as a house and studio, which had built in November 1930 since Agust 1925. Even though the works and theories of Theo van Doesburg had widely inffuenced on Modern Architects, these were the only experimental paper architecture by conceptural proposal of plastic architecture. Namely, The value of his works and theories did not overcome experimental archtecture. but, Theo van Doesburg left one work, at Meudon near Paris. This study intends to clear the special features of changing process and spatial characteristics on planing throughout from the planning to accomplisment of it.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.64-71
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• 2001

After Industrial Revolution, new thought system is needed to subdue multi-chanties and complexities of society. Nowadays under 'system theory', these efforts are theorized and organized in fields of science, philosophy and others. From Industrial revolution, before establishing the system theory, system has been needed by the expression methods. From that time, as it could be done, standardization, has been continued. Finally these conclusion reached at the systematic expression methods and when the system was build up, this theory was come true in Art such as De Stijl, Neo-Pasticism, Russian Suprematism and Constructism. For that reason, formal solution to achieve mass reductions was found in Art, so people connected Industry with Art at that time. Systematic expression methods in Art have characteristics of system and reflect mathematics and geometry theory which is based on the system theory. This study analyzes the systematic methods in contemporary interior space through the concept of systematic expression methods in Swiss Allianz's works which used the systematic expression methods and also inquires how the common meaning of system after recent times effect to contemporary design.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.82-91
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• 2008

After modernism, artistic movements such as Cubism, Futurism, De stijl and Bauhaus demonstrated a connection to architecture and other plastic arts and developed a tendency towards a synthetic art. Above all, the unification of painting and architecture is the most noticeable point; a blueprint and a multi-coloring space that are applied on 3-dimensions painting brought new dimensions into relief. Following this artistic trend, it is easy to point out that Le Corbusier's works; which were created under the name of Charles Edouard Jeanneret, show the pictorial peculiarity in the Space Design. Even if white space that he has designed under the slogan such as standardization and mechanization, the variety and metamorphism that he has tried to express on his work have widely been recognized. Especially, his late architectural works were produced as the figurative arts expressing the ambiguity of painting and hence led a step towards a synthetic art. The study analyses Le Corbusier's 2-dimensional Painting as well as his 3-dimensional Space Design. Furthermore, it aims at embarking on the unification of painting and architecture in terms of Le Corbusier's synthetic design philosophy.

• Journal of The Korean Digital Architecture Interior Association
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• v.12 no.4
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• pp.97-105
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• 2012

This study aims to evaluate Rietveld's creative design style and concepts. To this end, I looked into the evaluation of major researchers on Rietveld, classified all his works into four groups according to the design types and analyzed them. As follows: based on the results of the analysis of works I concluded. First, Rietveld created the concept of the spatial extension to the ingenious joint which had the structural node formed of three listels with quadrangular section. It is the design innovation that led to liberate the closed construction. Second, Rietveld had opened up the possibility to neutralize the gravitational three-dimensional works. He subtracted the weight in the direction of gravity from the three-dimensional structure of the works and painted the three primary colors on them partially to get rid of the original material color. Therefore they looked like the forms liberated from gravity. Third, Rietveld ripped off the surfaces of cube through several formative experiments and decomposed the volume into the tesseract. Through this method of realizing the new plastic concepts, he completed the architectural models of weightlessness. Fourth, Rietveld opened the possibility of the realization of the three-dimensional works integrated all space and time in the one-pieced works and the folded works. Fifth, Rietveld steadily experimented and realized the internal and external integration of time and space in his later works.

• Korean Institute of Interior Design Journal
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• no.11
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• pp.57-63
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• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.