• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Proceedings of the Korean Society of Surveying, Geodesy, Photogrammetry, and Cartography Conference
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• 2003.10a
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• pp.157-162
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• 2003

The 3D Image which embodies real object to 3D space of computer enables various geometrical analysis as well as visualization of complex 3D shape by giving sense for the real and cubic effect that can not be offered in 2D image. Human gives real object to same physical properties in 3D space imagination world of computer, and it is expected that this enables offering of various information by user strengthening interface between human-computer to observe object in real condition. In this study, formal style routine of 3D image creation applying digital photogrammetry was designed for more practical, highly trusty 3D image creation, and the system was emboded using object-oriented technique which strengthen user interface. Also, the discontinuity information about rock slope using 3D image is acquired that is orientation, persistence, spacing and aperture etc.

• Journal of the Korean Society of Costume
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• v.39
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• pp.39-58
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• 1998

In this research, first of all, the special feat-ures of Haute Couture design world (1990∼1996) prevailed in Paris and Rome are investigated, and additionally the understanding of collection concept and design structure analysis are performed to show the various method-ology of creative design. Expression method and design method are the main criteria in analyzing, and the main results of this research are summarized as follows : 1. Most of designers in Paris and Rome ex-press the traditional costume style. Paris designers are focusing on the expression of design morphology through the abstraction and re-appearance without being confined to theme expression ; Rome designers are expressing their main ideas utilizing the fashion image as their theme in lieu of expressing the design morphology. 2. Most of the designers in Paris and Rome are using simple lines for their design. Paris designers prefer the plastic design based upon formal and symmetrical balance of informal and asymmetrical balance to the partial trans-formation design ; Rome designers are enjoy-ing rather the partial transformation using the detail and trimming than the plastic design.

• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.39-46
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• 2011

Danish Modern has been recognized as simple and comfortable design movement that was matched with its unique regional environment. There are various internationally well known designers such as Arne Jacobsen, Verner Panton. Danish Modern movement and International style had vital role to activate these designers' ideas and design quality. This paper aims to study the background and design characteristics of Danish Modern movement as well as some of the spatial projects by Arne Jacobsen. Furniture design of Jacobsen were already throughly studied in various researches. However his spatial projects such as architectural buildings and interior designs were not. This study analyzes three major architectural projects based on the four characteristics of Danish Modern: Formal Simplicity, Simple Functionality, Regional Contextuality, Reasonable Amusement. After the case study, this study discovered that Danish Modern characteristics had unique roles in the design process of Jacobsen's projects. Danish Modern is still valid design philosophy that can be applied to contemporary society.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• The KIPS Transactions:PartA
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• v.14A no.7
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• pp.457-466
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• 2007

IEC61131-3 is the standard of control languages in which special purpose controllers and motion controllers such as PLC can be programmed. IL(Instruction List), one of the standard languages, is in assembly level but has some high-level features. This paper describes a formal semantics of IL in operational style. Previous works on IL semantics do not include functions and function blocks, which is not so practical. We define IL semantics including functions and function blocks.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• Journal of the Korean housing association
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• v.6 no.2
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• pp.191-204
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• 1995

On this research. The method of space analysis(Space syntax) is used to investigate the relation between composition and configuration in the houses of four modern architects. Space analysis represent that the houses permutate the morphological properties of depth and rings to embed domestic fuctions within the hoe and to interface household memgers. Two of the house are judged to be well composite but banal: The other appear more inventive in relation compositinal principles to space configuration, to create a measure of subtlety and richness in life style which is lacking in the examples where form is manipulated in the abstract. On this research. It is discoverd that Knowledge of both the internal laws of form and the social logic of space is required to generate the practical conjunction of formal rigour with fuctional ease which we recognise in the houses of architects.

• Journal of the Korean Home Economics Association
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• v.44 no.10
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• pp.79-90
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• 2006

The purpose of this study was to make new suggestions for the production of high value-added, fashion goods by reviewing and synthesizing the design of dress shirts. (Ed-I've combined paragraphs here) For this study, 1491 photographs on the dress shirts were collected for analysis from men's collection$(2001\sim2006)$. Concerning the actual characteristics of men's fashion design, the following conclusions were obtained from the analysis of the dress shirts of men's collection. (Ed-I've combined paragraphs here) First, feminine ornaments such as frill, pin tuck, and embroidery can be seen in men's dress shirts and men's sexuality has changed into a softer men's image. Second, asymmetry balance using detachability are expressed in the collars, sleeves, and plackets of men's dress shirts. Third, in a very novel suggestion, a combination of two items was designed in a dress shirt and variant shirt forms were created. Fourth, formal style is mainly shown in men's shirts and the traditional classic is increasingly becoming emphasized recently

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.57-66
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• 2000

The purpose of this study describe about aesthetic of korean art and costume. Therefore we understand the beauty of korean style well. Methods of this study are the analyst of the paper before published on the aesthetic and costume aesthetic. Especially in the global postmodern age. the understanding of the value of korean beauty and costume are very Important. This study define of the special character. That is as follows. 1) Beauty of form a. Harmony of line different character b. Composition of plane make super space aesthetic c. Beauty of asymmetric, non formal, freedom of dressed man d. Beauty of symbolic color 2) Beauty of mend a. Aesthetic of the north nomads feeling b. View of the naturalism c. Ceremony of confucianism d. Preservation of original form, koreanization from heterogeneity