• Korean Institute of Interior Design Journal
• /
• v.19 no.2
• /
• pp.90-98
• /
• 2010

The concepts of laws like regularity or persistence or recurrence those are discovered in nature, became the essential elements in speculative philosophy, study and scientific technology. Western civilization was spread out by these natural laws. As this background, this study is aimed to research the theories of natural laws and the development of geometry as the descriptive tools and the development aspects of the concepts of space. According to Whitehead's four theories on the natural laws, the result of this study that aimed like that as follows. First, the theories on the immanence and imposition of the natural laws were the predominant ideas from ancient Greek to before the scientific revolution, the theory on the simple description like the positivism made the Newton-Cartesian mechanism and an absolutist world view. The theory on the conventional interpretation made the organicism and relativism world view according to non-Euclidean geometry. Second, the geometrical composition of ancient Greek architecture was an aesthetics that represented the immanence of natural laws. Third, in the basic symbol of medieval times, the numeral symbol was the frame of thought and was an important principal of architecture. Fourth, during the Renaissance, architecture was regarded as mathematics that made the order of universe to visible things and the geometry was regarded as an important architectural principal. Fifth, according to the non-Euclidean geometry, it was possible to present the natural phenomena and the universe. Sixth, topology made to lapse the division of traditional floor, wall and ceiling in contemporary architecture and made to build the continuous space. Seventy, the new nature was explained by fractal concepts not by Euclidean shapes, fractal presented that the essence of nature had not mechanical and linear characteristic but organic and non-linear characteristic.

• Journal of the Korea Furniture Society
• /
• v.21 no.5
• /
• pp.380-391
• /
• 2010

Modular furniture's colors, materials, finishing materials and quantities are determined by users' tastes and it's diverse functions, shapes and sizes are determined by the spaces of users. That is, modules satisfy the diversity of consumers, meet differentiated individuals' tastes and enable communications with consumers rather than delivering one-way messages of designers. The contemporary spaces of the 21st century have been gradually shifting from uniform spaces attaching weight on individuals' individuality and tastes and along with it, the consumption of expensive custom-made furniture and foreign branded furniture is increasing to satisfy those small numbers of consumers who want to express diversified individuality. The modular furniture as a concept which is the most suitable to Mass Customization can be produced in large quantities while considering the diverse needs and tastes of individuals and it does not have absolute shapes or sizes. The concept of modular furniture shows similarities to the creation of fractals that forms shapes by self similarities, repeats and similar transformations which is in the same context as the characteristics of a modular design that presents diversity with scales, materials and jointing points. Fractals will be combined with the digital media of today to present great plasticity and influence designers more heavily. Pursuit of new modeling is a requisite for the creation of future spaces and it will require continuous creativity and the transformable modular furniture will contribute to the satisfaction of diverse consumers' needs. This study is to propose the modular furniture that considers the diversity of the public in the 21st century and their individuality and that will enable interactions between designers and consumers.

• Korean Institute of Interior Design Journal
• /
• no.22
• /
• pp.123-131
• /
• 2000

The purpose of this study is to propose a new design concept and properties within new paradigm. Contemporary students of architectural design seem to redefine the mechanic and reductive approach to design method based upon Euclidean geometry. In this study, the organic space-time and holistic view-point that constitutes the background for all this is radically different from the modern design. It consists of three sections as follow: First, it presents a concept of complex system and properties of complexity that we find in new natural science and tries to combine that news geometry with architectural design to provide a methodological basis for morphogenesis and transformation. Second, the complexity in architecture is defined as a fractal shape, folded space, and irreducible organic system that cannot be fully understood by modernist idea of architecture. Third, the complexity in architecture is strategy based on the electronic paradigm that would enable the emergence of creative possibility. The complexity theory offer new insights to explain not only natural laws but also define dynamic architecture. In fine, this study places a great emphasis on the organic world-view to the spatial organization, which I hope will contribute to generating a greater number of creative possibilities for design.

• Korean Institute of Interior Design Journal
• /
• v.24 no.6
• /
• pp.119-127
• /
• 2015

Sou Fujimoto is well known as the 3rd Japanese architect to participate in the Serpentine Pavilion project, especially youngest of all architects. His projects seem very experimental yet inviting, modern yet comforting and these feeling may be resulted in his metaphor of 'Forest' that is very often mentioned in his writings which originally comes from his personal experience of the city and nature. The purpose of this paper is to understand the Fujimoto's metaphor of 'Forest' and design language he uses to express this very idea. The researchers have analyzed Fujimoto's writings and interviews in order to understand his general design ideas and process, then extracted wordings describing 'Forest' in his works. Four main concepts were found and categorized as follows: blurring territorial boundaries, proliferation of parts, manipulating spatial relationships, and ambiguity in function. Then two or three projects were selected and analyzed in each category to understand design methods used. The results show that Fujimoto enjoys using gradation of density to blur territorial boundaries in order to express ambiguous outline of forest, and fractal reproductions in proliferation of parts to uses express wavering whole and modifying angles in manipulating spatial relationships to show hidden order.

• Proceedings of the Korea Contents Association Conference
• /
• 2004.05a
• /
• pp.449-455
• /
• 2004

In aspects of materializing rational and reasonable beauty in motion picture contents design area, it intends to conceptualize the visual design through studies of the invisible area, the virtual space of the dematerialized era, contrary to the commonly practiced visual design area of the concrete substance and to provide an opportunity to gain new senses and the embedded meanings of the motion picture graphics, which are created in the electronic space. Especially, although the invisible phenomenon such as electromagnetic wave exist in space, it was treated as a conceptual subject. However, it intends to seek a design approach about physical, poetical, aesthetical experience of the design in the invisible area, escaped from the limited existing perspective. Based on such theory, it denotes to secure the possibility of new design through the application of sound, rhythm, color and image in fractal design area.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.21 no.2
• /
• pp.109-122
• /
• 2019

The purpose of this study is to examine the clothing component information and attributes as the control parameters for the 3D modeling process of the biomorphic clothing sculpture using a parametric methodology. The 3D modeling parameters of biomorphic clothing sculpture were identified as exaggerated silhouette, surface texture, and digital color. The types of exaggerated silhouettes were shoulder and hip exaggeration, shoulder exaggeration, hip exaggeration, vertical exaggeration, and horizontal exaggeration. The types of surface texture were embossed, lacy, furry, and complex textures. The types of digital color were chrome, blur, blend, and acid colors. The characteristics of morphological representation due to the attributes of these control variables were identified as morphological variation, organic morphology, organizational morphology, and realistic morphology. As a result, it was found that the parameter attributes were applied to the biomorphic clothing sculpture parametric design process and developed into various shapes.

• Computers and Concrete
• /
• v.32 no.2
• /
• pp.149-163
• /
• 2023

One of the main design parameters traditionally utilized in projects of geotechnical engineering is the uniaxial compressive strength. The present paper employed three artificial intelligence methods, i.e., the stochastic fractal search (SFS), the multi-verse optimization (MVO), and the vortex search algorithm (VSA), in order to determine the compressive strength of concrete (CSC). For the same reason, 1030 concrete specimens were subjected to compressive strength tests. According to the obtained laboratory results, the fly ash, cement, water, slag, coarse aggregates, fine aggregates, and SP were subjected to tests as the input parameters of the model in order to decide the optimum input configuration for the estimation of the compressive strength. The performance was evaluated by employing three criteria, i.e., the root mean square error (RMSE), mean absolute error (MAE), and the determination coefficient (R²). The evaluation of the error criteria and the determination coefficient obtained from the above three techniques indicates that the SFS-MLP technique outperformed the MVO-MLP and VSA-MLP methods. The developed artificial neural network models exhibit higher amounts of errors and lower correlation coefficients in comparison with other models. Nonetheless, the use of the stochastic fractal search algorithm has resulted in considerable enhancement in precision and accuracy of the evaluations conducted through the artificial neural network and has enhanced its performance. According to the results, the utilized SFS-MLP technique showed a better performance in the estimation of the compressive strength of concrete (R²=0.99932 and 0.99942, and RMSE=0.32611 and 0.24922). The novelty of our study is the use of a large dataset composed of 1030 entries and optimization of the learning scheme of the neural prediction model via a data distribution of a 20:80 testing-to-training ratio.

• Journal of the Korean Society of Costume
• /
• v.50 no.2
• /
• pp.97-109
• /
• 2000

The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.

• Electrical & Electronic Materials
• /
• v.11 no.11
• /
• pp.1-8
• /
• 1998

This paper presents an arificial neuro-fuzzy technique based prtial discharge (PD) pattern classifier to power system application. This may require a complicated analysis method employ -ing an experts system due to very complex progressing discharge form under exter-nal stress. After referring briefly to the developments of artificical neural network based PD measurements, the paper outlines how the introduction of new emerging technology has resulted in the design of a number of PD diagnostic systems for practical applicaton of residual lifetime prediction. The appropriate PD data base structure and selection of learning data size of PD pattern based on fractal dimentsional and 3-D PD-normalization, extraction of relevant characteristic fea-ture of PD recognition are discussed. Some practical aspects encountered with unknown stress in the neuro-fuzzy techniques based real time PD recognition are also addressed.

• Archives of design research
• /
• v.16 no.3
• /
• pp.101-110
• /
• 2003

People are surrounded with numerous sounds. The sound is generated from nature and people. For example, the sound enables people or animal responsive to instinctive action. Music or fine arts are presented differently by its distinctive medium. On the other hand, those art forms are similar in a way that people uses right side of brain and intuitions for creative effects. Conjunctions between sounds and visual arts have been progressed to data. From art forms in subjective views to art forms using high technology such as the computer, experiments for sounds visualization are practiced constantly. For that reason, intrinsic attributes of sounds in design area and distinctive qualities are discussed in this study. With respect to existing category of studies and consideration of the tendency in recent researches, the object is to propose direction for the study in regards to methodology of design, which is reconstructing visualized expression.