• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.61-65
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• 2004

This study aims to inquire into the expressive characters of Shiro Kuramata's works. Kuramata, who was active between mid of 1960's to 1990's, went beyond the limits of range of the eastern world, is known internationally. His design philosophy is influencing the current design world greatly. To understand his background and to reexamine his characteristics suggest to us various materials and design languages to be seen forms and principles of his works. I presents data on Shiro Kuramata and puts forwards the significance of his works and tries to lead the way of the design by application techniques of materials on this study.

• 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.

• Parasites, Hosts and Diseases
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• v.47 no.3
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• pp.213-218
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• 2009

Leishmaniasis is a neglected disease and endemic in developing countries. A lack of adequate and definitive chemotherapeutic agents to fight against this infection has led to the investigation of numerous compounds. The aim of this study was to investigate the effect of RT-01, an organotellurane compound presenting biological activities, in 2 experimental systems against Leishmania amazonensis. The in vitro system consisted of promastigotes and amastigotes forms of the parasite, and the in vivo system consisted of L.amazonensis infected BALB/c mice, an extremely susceptible mouse strain. The compound proved to be toxic against promastigotes and amastigotes. The study also showed that treatment with RT-01 produces an effect similar to that treatment with the reference antimonial drug, Glucantime, in L.amazonensis infected mice. The best results were obtained following RT-01 intralesional administration (720 ${\mu}g$/kg/day); mice showed significant delay in the development of cutaneous lesions and decreased numbers of parasites obtained from the lesions. Significant differences in tissue pathology consisted mainly of no expressive accumulation of inflammatory cells and wellpreserved structures in the skin tissue of RT-01-treated mice compared with expressive infiltration of infected cells replacing the skin tissue in lesions of untreated mice. These findings highlight the fact that the apparent potency of organotellurane compounds, together with their relatively simple structure, may represent a new avenue for the development of novel drugs to combat parasitic diseases.

• Korean Institute of Interior Design Journal
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• v.13 no.6
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• pp.57-65
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• 2004

The space is formed in close connection with a human life style, and whose significance is interpreted and recognized by characteristics given in the life culture to which they belong to. The spacial concept in terms of recognition plays an important role in the design of spaces. The understandings of its identity is an indispensable factor to forming the proper relation between the human beings and the space. This paper is the inquiry and the arrangement for geographical, thinking, and beauty-conscious features of Japan by the researches on documentary records in order to reveal the relationship between recognition and space as mentioned aboved. Also this paper presents the frame(system) which can draw the method of space construction and its expression and then seize and analyze the reality of space by re-arrangement for these various cultural background on the center of the relationship with Japanese spacial cognition. And this paper analyzed and arranged expressive features for Japanese spacial concepts by applying this analysis frame to contemporary commercial spaces in Japan. In results this research revealed that Japanese spacial features is always in the consciousness for cognitive space on the design of space , and in the features the neutral and several layered spaces are showed in complexed and mutual connected forms. These may be the methods for the relationship establishment between human and space on the ground of unique spacial concepts which is commonly found not only in traditional spaces but also in contemporary spaces in Japan.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.34-41
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• 2003

A purpose of this study is to comprehend a concept of 'Open Space', realization of a deconstruction, presented in his works, based on a deconstruction and surrealism Coop Himmelblau's philosophical contemplation and to look into how this concept is interpreted in spaces. A concept of 'Open Space' is functioned as not a singular meaning but a multiple meaning accompanied with other formative ingredient and contemplation, scientific paradigm and a realation with a surroundings. The concept of 'Open Space' in their architentural space is applied. First, the space openness that represents to the extreme a concept 'Open Space', as a 3D designing ways that demolishes a structure and outgrows an ex siting thinking pattern, represents multiple grade spaces and an anti-gravity space. In a material, using glass and iron provides a spacial transparency and through this, visibly liberal sense that an interior and exterior is felt as an unification. Second, an non-expressive box pattern repulses to a spatial rank nature, outgrowing an uniform geometrical system, through demolishing a geometrical system, an edge and fold pattern. This is, as an anti-gravity, dynamic a typical structure, outgrowing an orthogonal system, interpreted as a composite meaning without division in spatial area. Third, the collage is used to represent a complexity and pluralism in representing 'Open space'. The collage that forms a image through combining a fragmentary elements into being a space change, composite constitution and spatial amusement. Thus, It is worthwhile to study how the collage that forms a diverse shape will be developed making what impact as an age and surroundings changed. As we contemplate in former part, Coop Himmelblou has deployed 'deconstruction beyond deconstruction' realm as just their midterm concept in their works like the words 'The architecture must climb', the deconstructive architect. A studying for their works reflecting the 'Open Space' concept based on deconstruction must be lasted and this enables us to comprehend space concept containing an architecture and interior design.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.150-160
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• 1997

The tendency of the Minimalism in the contemporary a architecture is based on Mies van der Rohe s saying ‘나SS IS m more" as the principle of the Minimal art and its formative c composition. It can be divided into technical Minimalism p prevailed in Northern Europe and the zone of German l language, and the regional one in Southern Europe and S Southern America. The former is interested in the experiences of the techniques and materials, and the latter in that of the s space and the place through the simple forms. The minialistic approach to the architecture is nat only m methodological one. It accepts the concept and the construction of architecture as 2 axes for making it keeps the tradition and c communication with the master builder, the materials, and i염 m means to compound. The expressive characteristics of works in M Minimalism are 1) as the formal issue, it is simple, self-referring. without any symbol or any allusion, and compounds the r repetitive forms as the comceptual aspec않 of architecture, 2) it h has the characteristies such as the approach directly to the m means by which architecture made, the critical interests to the m material attributes, and the capacity to the contemporary t technology as the issue of technique and materials, 3) regarding t the space and the place, it shows the good sense to the site in t the sphere intervention of architecture 1e Maininlalism architecture has i않 impotance in the point t that it seeks to the qualities immanent in architecture by s showing the marvelous status through discovering the i immanent properties of the site, program materials, and the s structure, and also it begins new way of interpreting a architecture with new viewpoint to the its essence as well as a architecture itself.self.

• Journal of Science of Art and Design
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• v.2
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• pp.161-192
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• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20th century. It would be of worth to study the characteristics of contemporary fiber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber-arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz' works in the context of human body and body-signs. Life and works might be classified into 5 stages: first, learning period since her birth in 1930, second, creation period of Abakans, third, remodelling period of Abakans, fourth, composition and dissolution period of Abakans and the last and fifth, new transformation period of Abakans. 'Abakans' through her whole life as an artist have been a plastic language and based ultimately on external human body but in various materials and forms. Abakan as a human-sign uses the past experiences and the texts of the other world in mixed and overlapped forms. Life-size Abakans by Abaknowiz can be easily understood as Abakanowiz herself and her Polish ancestor at the same time. The neuter Abakans with mashed face and obscure body is a expressive figure of coexisting world with opposite concepts like war and ideology, anxiety and freedom, man and woman, and etc. Human body as body-sign is an extensive image has existed since our forefathers and overlapped with the inter textual and the popular images. 'Abakans' that is our world and inner-self at the same time might be a window through which she tries to show what the world is.

• Journal of the Korean housing association
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• v.16 no.4
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• pp.45-55
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• 2005

The cubist collagists proposed radically different ideas about the nature of order, and about the nature of artistic space. The collage substitutes an order which is constructed on relationships for the more rigid order of traditional art. Collage presents new theories of communication with the viewer, of relationships and of signs. This paper is an investigation of these ideas and how they have been applied to Mies Van der Rohe's making of architecture: Barcelona Pavilion and Tugendhat house. Collage in Mies' works has been executed in a limited manner. In Mies' works, one can begin to recognize some basic traits of collage. Textures, forms, and fragments begin to interact with each other and exploit those principles of contrast and juxtaposition that give collage a value as an expressive medium. Many of the formal aspects of collage are readily apparent in much of the work which we see around use today, but we should look at the attitudes and beliefs upon which collage is built for a further understanding of how its principles can be applied.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.14-23
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• 2011

The purpose of this study is to analyse the inclinations and expressions in contemporary architecture. Specially, we call this tendency and architectural movements as architectural metamorphosis. Metamorphosis in architecture present the core of the change of Forms and spirits in a change of outward shape and terrestrial identity. As in Ovid's extended dramatic poem of change and transformation, Metamorphoses, all Souls are deathless, and migrates from one form to another. Like these stories in Metamorphoses, Ovid tells the soul never dies, but leaps one form to anther, and can take any shape. So the architectural form, transformation and deformation in contemporary architecture means architectural sensations and cognitions can even approach the soul of form and shape under the transformation. The expressions and design strategies of metamorphosis in comtemporary architecture reveal continuous and sequential formations of space, linear structure with force and vector, rhythmical wavement and folding surface, lively wiggly flows of volumns and objects, and so on. Such qualities came from the periodical needs; separation of structure and surface, poly-surfacial movement, poly-sensual expression and experience, dematerialization and the dematerialized space, formless of non-formal architecture, digital architecture. Architecture of Metamorphosis is the ways and the needs of our period to overcome the static limits prohibits the liberal thoughts, to find the ways toward the opportunities and diversities and to unlock the imaginaire of the contemporary architecture.