• 한국의상디자인학회지
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• 제5권2호
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• pp.103-113
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• 2003

This paper analyses the geometric aspect of Sonia Delaunay′s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay′s art was one of the first expressions of abstract painting and her "simultaneous contrasts" are among the earliest example of the aesthetic. In Delaunay′s geometric abstraction it is found that the technique of "simultaneous contrasts" is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.

• 복식
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• 제50권6호
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• pp.47-58
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• 2000

This paper analyses the geometric aspect of Soma Delaunay's works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration, One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Soma Delaunay's art was one of the first expressions of abstract painting and her "simultaneous contrasts"are among the earliest example of the aesthete. In Delaunay's geometric abstraction it is found that the technique of"simultaneous contrasts" is exploited almost without exception. colour as well as collage was the favourite technique Delnaunay used in creating a distinct simultaneity, Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.rant breadth of the execution.

• 대한수학교육학회지:학교수학
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• 제16권4호
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• pp.677-690
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• 2014

수학교육에서 도형영역 학습은 공감감각 기르기와 도형과 관련된 개념형성을 주요 특징으로 한다. 공간감각 기르기 활동은 주로 여러 가지 변환의 관점에서 다루고 있으며 도형학습과 관련된 수업모형은 주로 개념형성 모형을 따르고 있다. 그러나 개념과 개념을 이어주는 연결성과 관련된 학습 내용은 부족하다. 본 연구에서는 공간감각을 도형에 관한 직관과 도형과 관련된 개념들 사이의 관계적 이해의 능력으로 보고 등주문제 분석을 통해서 공간감각 기르기 활동과 관련된 교수 학습 자료를 추출하고 이를 바탕으로 한 사례분석을 통해 교육학적 시사점을 얻고자 한다.

• 복식
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• 제51권2호
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• pp.43-52
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• 2001

The purpose of this research is to study the aesthetic character of a mosaic which is expressed in the Modern Costume. The methods of the research were by literature and it was mainly done with reference to master's theses, doctor's theses, separate volumes, periodicals, domestic and overseas fashion magazines and internet on the subject. The result of the research appears as rhythm, exoticism, abstraction, mystery, recreation by disintegration. First, rhythm appears in a sense of free rhythm with the method of arranging motives and the kinds of materials varying. Second, exoticism gives impression with such motives as Oriental designs, African designs and the geometric designs of nature occupying the surface. Third, abstraction displays motives such as unrealistic fashion. Fourth, mystery gives a cyber-related impression with the help of such scientific materials as fluorescent plastics, metal and glass. Fifth, recreation pelves an aesthetic impression by reorganizing the costume with the disintegration and transformation of Industrial materials such as plastics, metal and glass, etc. based on their unique colors and quality.

• 한국CDE학회논문집
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• 제1권2호
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• pp.122-132
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• 1996

Features are generic shapes with which engineers associate certain attributes and knowledge useful in reasoning about the product. Feature-based modeling systems support additional levels of information beyond those available in geometric modelers. The objective of this study is to develop a PC level feature-based modeling system which explicitly represents dimensions of the part. The feature-based modeler retains all the benefits of traditional B-rep. solid models, and represents the dimensions at a high level of a abstraction so that dimension driven geometry can be achieved.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.52-59
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• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• 패션비즈니스
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• 제27권6호
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• 디자인학연구
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• 16호
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• 한국실내디자인학회논문집
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• 제25호
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• pp.169-175
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• 2000

Since the late 19th Century, modern architecture of definite figure and form shared similar concepts on space and from with the abstract art, pursuing the geometric purity and the abstraction. So the reductive approach had been taken in modern architecture as well as on modern art. The 1960 minimal art had experimented an extreme reduction with the cubic forms and the plane canvases, embodying so called minimal-art content, it was just another version of modernism art interpreted by the extreme reduction. The reduction is a characteristics of modernism adopted in every art field, including architecture. Not from the apparent, but from the essential quality of architectural form, figure and space resulting from the reductive approach, a building in this trend schould be judged and appreciated. In many aspects, Korean traditional architecture has been shown the characteristics of Minimal Architecture. With these points of view, this study analyzes characteristics of Korean traditional architecture with above contents through the form and space.

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