• Journal of Digital Convergence
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• v.12 no.12
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• pp.601-609
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• 2014

This kind of goal orientation in Art Nouveau has provided nature-friendly designs to modern people living in a post-industrial society. For these people who want to have their own style in a natural and comfortable space and take a break from daily hectic daily routines for a moment, hair-by-night styles were created by adding the images of Greek goddesses to the nature-friendly features of Art Nouveau patterns known as 'flower pattern', 'wave pattern', and 'vine pattern'. In terms of the scope of this paper, four designs (Eos, Hestia, Artemis and Demeter) were created by using Art Nouveau patterns which are connected with flowers in an organic manner based on Rene Lalique and Emile Galle patterns.

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.350-364
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• 2013

Based on the background of the times and theoretical background that influenced the formation of the works of Charles Rennie Mackintosh, one of representative architects of Art Nouveau, this study examined the formative characteristics of furniture design by period. In addition, his influences on the modern furniture design were also reviewed. In the latter half of the 19th century, due to Arts and Crafts Movement, the popularity of Art Nouveau was not high in England and due to conservative and traditional culture, Mackintosh had difficult time to display his ability in England. On the other hand, because Glasgow, one of industrial cities located in the center of Scotland where he had grown was an open and modern city, Mackintosh could win international fame in architecture and furniture design thanks to the atmosphere. Furthermore, it is found from the formative characteristics of his works that Historicism, Arts and Crafts Movement and Japanese culture and the influences of Continent became his theoretical background. His works creatively combined the noble design of Scotland and Art Nouveau to be considered a simple and pure style with a straight tendency and his working period can be divided into Beginning, Middle and Last Period according to the formative characteristics of furniture design. His constituting principle that decorated the structure influenced the Wien Secession's activities to form Wiener Werkstaette and this finally became the important background to develop to 'Modernism Design' through Art Deco and Bauhaus.

• Archives of design research
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• v.13 no.3
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• pp.101-110
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• 2000

Taking a look at art history around the world reveals the presence of ceramics in a wide range of areas. There have been many changes and developments over the years, but especially notable is the fact that in the course of history, the craft of ceramics has become an aesthetic art form rather than serving the original purpose of providing daily object of necessity. The Art Nouveau movement had peat influence in the development of ceramics before and after 19$^{th}$ century, and its inherent style continues to be copied and produced to modem day. The Art Nouveau style can today be seen particularly in contemporary tableware designs reflecting its graceful motifs that are now richly presenting themselves on table settings. This study looks at the possibilites of Art Nouveau in ceramics, namely by combining both traditional formativ qualities and contemporary visual inspirations to seek new expressions of beauty. In order to document records and analyze formative developments of Art Nouveau, representative pieces have been chronologically presented to cover the period from 1895 to the present.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.334-335
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• 2005

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.125-141
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• 1994

Alois Riegl's aesthetic theory of visual perception provided one of important conceptual backgrounds for Vienna Art Nouveau architecture. Riegls theory of visual perception consists of geometric style and two-dimensional transformation. Riegl's theory of geometric style is based on the modern aesthetic theory of abstraction, which says that the artistic perfection can be obtained not from a direct imitation of natural objects, but from an abstract transformation of them. Riegl's theory of two-dimensional transformation, on the other hand, aims at obtaining artistic perfection by disintegrating volumetric conditions of natural things into planes and combining the planes thus obtained into another new world of art. These two theories of Alois Rigl's provided an important aesthetical background for the design strategy of 'abstract ornamentaion of two-dimension' in Vienna Art Nouveau architecture. This paper is to review the basic concept of Alois Rigl's theory of geometric style and two-dimensional transformation.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.56-63
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• 2005

This study aims to understand the ornamental space in Art-Nouveau style which was made up the ornamental aspect and spatial aspect. So that It is needed to classify the ornamental space into three categories according to the way of construction; pictorial composition, non-objective composition and organic construction. To find the meaning of these ornamental spaces, works of Art-Nouveau are analyzed into ornament and space, in result we know that process of integration, relativity of ornament as a part and forms of expression in ornamental space have some regulation; use of natural motive, repetition of image and organic combination. Whereas the ornamental space in Art-Nouveau style has comprehensive capacity between antagonistic relations just like tradition and new mechanism, the space could receive a lot of different ideas and express these ideas as ornaments. Although the ornamental space also had weak points which were the lack of transformation and the difficulties of the application of other design due to the perfection itself, we could create new space which meets the requirements of the times, if we develop and make up for the weak points in the ornamental space under the principles of dialectic.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.71-83
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• 2006

This study is about how Art Nouveau and Art Deco clothing are represented in the costume design of film created after those periods and examines the recreation process of visual media. The costume design of The Wings of the Dove tried to reflect the mixture of fashion trends that could be seen during the times. Milly???s clothes seem to focus on recreating the special features of the 1900???s fashion trends more visually while Kate???s clothes are represented in a strong and simple way to emphasize her personality. The costumes in The Great Gatsby, tried to reinvent the 1920???s clothes in a romantic way. Daisy???s and Gatsby???s costumes were based on the aesthetics of the 1920???s clothing. but emphasized the symbolic nature of the characters to give a greater dramatic effect. By analyzing and comparing, it can be seen that, while costume design usually begin with painstaking research into the historical period in which the film is set it is often altered to highlight aspects of the story. such as the theme and the characters, in an effort to create a stronger dramatic effect. Costume design remains one of the most effective means for a director to visually express the personality and desires of a film???s characters. The ideal aim of costume design is to create something new but at the same time, remain true to the period by being grounded in accurate research.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• Journal of architectural history
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• v.5 no.1 s.9
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• pp.113-122
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• 1996

Cette etude vise a reveler une verite du Nouveau Brutalisme des Smithson (Alison et Peter). Nous examinerons donc d'abord l'universalitf de leur oeuvre representatif, Ecole Secondaire de Hunstanton(projet, 1949; concours, 1950; construction, 1951-1954) et projet de Maison Soho a Londres(1952) comme un mouvement architectural. Et apres nous trouverons la faussete de leur but, realisation de l'ethique architecturale, sur ce mouvement en comparant les oeuvres des Smithson avec les deux constructions considerees souvent comme la categorie du Nouveau Brutalisme, la Calorie d'Art de l'Universite Yale(1951-1953) realisee par Louis I. Kahn(1901-1974) et le Centre Cuturelle de Georges-Pompodou(1971-1977) par Renzo Piano et Richard Rogers. En resultat, l'etique de Nouveau Brutalisme soutenue par les Smithson et defendue par Reyner Banham etait seulement pour cacher low limite architecturale et sa faiblesse. Ce mouvement etait aussi un mouvement personel plutot que general. On ne pourrait pas donc considerer les Smithson comme nouveaux brutalistes.