• Journal of the Korean Society of Manufacturing Process Engineers
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• v.7 no.4
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• pp.96-101
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• 2008

Due to improve form accuracy and surface roughness of a aspheric lens core that is made of Ni, the study is carried out on localization about a Subminiature Optics of Proximity and Wide Field of View. The required form accuracy P-V $0.2{\mu}m$ and surface roughness is Ra 10 nm. The design of experiment(DOE) is adopted to find a optimal cutting conditions which are spindle speed, depth of cut, feedrate. Finally, the effects of this study are replacing importation and strengthening competitiveness through the localization of the Subminiature Optics of Proximity and Wide Field of View.

• Journal of the Korean housing association
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• v.12 no.3
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• pp.61-73
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• 2001

This study is to examine and classify the phasic characteristics of organic thoughts in modern architecture. Organic architects have applied organic thoughts to solutions for the problems of each period in architecture since modern times. As results of this study, the architecture of organic thoughts from 1850s to 1940s could be divided into two phases. The phasic characteristics of the first phase from 1850s to 1910s was physical resemblance in real or fantastic appearance that the work of art and architecture should imitate organic forms from the view of solid empiricism. The phasic characteristics of the second phase from 1920s to 1940s was organic growth that the form appropriate to a work of art and architecture should grow from the nature of the problem itself as a system in nature grows from the view of pragmatism and was organic unity that the form and function or the form and content of a work of art should be inseparably integrated as the form in nature should grow out of the inner nature of the thing and be an expression of that inner nature from the view of expressive theory.

• Architectural research
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• v.15 no.2
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• pp.69-75
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• 2013

Within residential high-rise market there are many value determining factors. Site condition, view, program, units and structure are important parameters that are directly related to the financial aspect of the project. However, most of the studies of high-rise building design focus on the facade and the shape strategies from an esthetic point of view without considering these factors. The objective of this study is to investigate new design approach that incorporates site, program and structural information at an early stage as a generator of building form and explore a wide range of strategies to negotiate these factors in the process of design/decision making. Not being based on designer's subjective preference or style, architects still can create interesting building design through integration and negotiation of various building information. Since this form is based on real data, not just play of form, we can expect that this form has great potential to be developed into real one at the later design phase.

• Journal of the Korean Society of Industry Convergence
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• v.7 no.3
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• pp.249-257
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• 2004

Forms provide meaning and deep correlation with human life All religion has symbolity through form expressions. The symbols of christanity is architectural interpreation to express the symbol of glories Form expression was Investigator from architectural design. Expression is regarded as important from the view of forms Form expressions are the motivation of expressing religion as an architectural factor. Form expression is one of proassing from architectural position Also it is the basic data of expressing glory from the architectural designer. So planning of church should be the harmony between city view and acceptance of love.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.139-146
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• 1999

Small art museums are important objects in the point of view that they are museums to speak for the general architectural culture of current Korea and immediate factors to have an effect on urban street view and urban people's life. In small art museums, form has had plural transfigurational process when we analyze the external component elements or form types, we will find various aspects. In past, composition of form was expressed by simple partition of surface and columv. Now a days, it is expressed with unnumerable formal vocabularies. Although these forms being looked plural, form principle of composition that prescribe it can be rather simple. This study aims to grasp the characteristics and the composition technique of form in small art museums by analyzing compositional elements of it.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.11 no.6
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• pp.709-715
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• 1999

To optimize a heating and cooling system, we need an exact solution lot radiant heat transfer in any form of room or building. This paper describes the solution method of view factor by the area weighted average and graphical method to calculate the radiant heat exchange or daylighting level in any form of room or building. This study shows that the area weighted average and graphical methods have many points of merits(calculation speed, correctness and calculation capability in an arbitrary form of room shapes etc.) compared with existing methods

• Journal of Science of Art and Design
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• v.3
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.121-135
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• 2004

The purpose of this study is to analyze the image evaluation and the preference of tailored jacket according to the body type and the degree of satisfaction with their body of middle-aged women. The subjects used for this study were three hundred and twenty three middle-aged women ranging from 35 to 50 years old. We measured their bodies and asked them report to the questionnaire. The results are as follows. 1) Middle-aged women were classified into four typical types of body. The type 1 was tall and thin and had a front view silhouette with the form of a letter X. The type 2 was the tallest and the medium of fatness and had a front view silhouette with the form of a letter H that the lower part of the body is short. The type 3 was the medium of height and width and had a front view silhouette with the form of a letter A that the upper part of the body is short compared with their height. The type 4 were the shortest and the fattest and had a front view silhouette with the form of a letter Y that the lower and upper parts of the body is the longest. 2) Middle-aged women roughly tended not to be satisfied with part of their body. The results showed that a neck was the most satisfied body part and the weight was the least satisfied as well as overall leg shape among all 13 body parts. 3) The type 1 had the highest the degree of satisfaction on their face size, upper arm girth, waist, hip girth, weight and body shape, etc., excepting hip shape among 4 body types.