• 주택과사람들
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• s.188
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• pp.52-57
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• 2006

"자연은 신이 만든 건축이며, 건축은 그것을 배워야 한다", "직선은 인간의 것이지만 곡선은 신의 것이다"라고 말한 안토니오 가우디(Antonio Gaudi 1852~1926). 가우디는 현대건축의 아버지로 자신의 모든 작품에 신의 영광을 드러냈다. 그러나 자연과 환경을 닮기 위한 노력을 하는 예술가로 자신의 전생애를 건축예술을 위해 바쳤던 가우디는 아이러니컬하게도 1926년 새벽미사를 위하여 성당에 가다 기차에 치어 생을 마감했다.

• Korean Architects
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• s.589
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• pp.112-115
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• 2018

• Korean Architects
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• s.527
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• pp.80-84
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• 2013

• Korean Institute of Interior Design Journal
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• v.27 no.3
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• pp.41-48
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• 2018

This thesis is a paper comparing Adolf Loos and Antoni Gaudí's 'theory of ornament', based on their text. Adolf Loos and Antoni Gaudí are architects who had worked from late 19c, just before advent of Modernism architecture, to early 20c. When 'ornament' had started to be excluded from architecture according to development of industrialization and capitalism, Loos and Gaudí have both written about 'ornament.' Generally, Loos is known to have possessed rational mind and designed modern building with no ornament, and Gaudí is known to have possessed romantic mind and used splendid ornaments. For those reasons, it was assumed that two architects would have contrast opinions regarding ornaments. However, analysis of two architects' major text reveals that their theories of ornament are fundamentally analogous. Loos and Gaudí both argue dissolution of past normative 'ornament' and claims that rational 'ornament' that fits modern time is possible. Interestingly, intentionally adopted ornaments exist considerably in architecture of Loos. On the other hand, in Gaudí's architecture, there are many points where Gaudí had restrained ornaments. This thesis organizes similarity and differences of two architects' 'theory of ornament' through their texts and works. Moreover, this thesis suggests that then today's architecture aims to restart a debate on 'ornament', it is worth reviewing texts of Loos and Gaudí.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• Journal of the Korean housing association
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• v.15 no.5
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• pp.21-32
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• 2004

The purpose of this study is to interpret Gaudi's philosophy of architecture through an analysis of the design characteristics in his remodeling of Casa Battlo. A review of the literature related to Casa Battlo as well as a field study in Barcelona to see the building were made for this study. The conclusions were as follows; Casa Battle is one of the best examples of Gaudi's attempts at creating a surreal atmosphere and should be evaluated in light of the following considerations: 1) Casa Battle as a remodeled house presented its own restrictions to Gaudi that he overcame by introducing characteristic design elements into the remodeling process; 2) the achievement, a perfect sculpture expressing continuity through a gorgeous colour scheme using different materials and design motifs with a dynamic spiral shape, originated from Gaudi's observations of nature and his experiences working in modeling studios; 3) a visualized embodiment of Gaudi's naturalism and functionalism through the impression of perpetual movement and continuity as formative symbols of genesis, life, death, and transmigration of the soul, originated from Gaudi's personal experiences of the early deaths of several close family members; 4) the design is meant to show the same processes of creation used by nature rather than a mere imitation of nature. Gaudi was not only a person dedicated obsessively to his profession as an architect, but also a rationalist fundamentally in the way he operated. It was expected that this study could be employed as a small stimulus to challenge the paradigm of housing remodeling projects -a hot issue in today's Korea- especially in their philosophical aspect.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.751-765
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• 2011

The purpose of this study is to apply the Trencadis images in Antony Gaudi's work to a design motive and thus provide a new concept for a knitwear design by combining double-knitted fabrics with patchwork applique, taping, stitching and quilting. This study examines the bibliographic text and precedent research related to Antony Gaudi and his works, and analyzes the historical background and formative and stylistic characteristics of Trencadis as it appeared in Gaudi's architectural works. Also this study also examines the characteristics of knitwear and knitting theory while exploring the formative elements and the combined techniques used in modern knitwear design through fashion magazines, medium images, and online sources. The results are as follows: First, Gaudi's work that applies a Trencadis technique has the characteristic of being creative, organic, and environmentally friendly. And in addition, its colorfulness inspires modern fashion design. Second, computerized knitting has been practiced in various ways and the fabrics knitted by both double-knitting jacquard and computerized knitting machines provide a new direction the creation of knitwear. A computerized knitting machine is especially effective for pictorial expression, and is suitable for showing the natural curve of the human body due to its sophistication. Third, as a result of applying a combined technique to the knitting of various fabrics, a combined or fusion design, which is a recent megatrend, is very effective for the design of knitwear while increasing its aesthetic value. Moreover, utilizing techniques that combine patchwork applique, taping, stitching and quilting will create higher value in knitwear. Lastly, with a project of applying combined techniques in the creation of knitwear, designers can become much more creative while taking their imagination much further.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.31-38
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• 2007

This study investigated and compared regional features of Aalto's buildings and Gaudi's on the assumption that their designs are based on the regional backgrounds. For it, two churches of each one we selected and analyzed about five divided spaces like disposition, the exterior, plan, structure and introduction and use of the sunlight. As result of analysis, following conclusions are induced: first, Aalto's church design and Gaudi's we similar in which they reflected the thought of regionalistic design. Nevertheless they are deferred in which Aalto accepted the international functionalism but Gaudi rejected it due to his deep belief. Second, they followed the tradition of the regional architecture. Third, both of them took in consideration the nature, but due to the difference of the contexts they are deferred in its use. Finally, both gave importance to the sunlight. But Aalto is from the country where lacks the light while Gaudi is from the country where abounds the light, so its use is different. This investigation shows several possibilities of design under the influence of its regional culture, which gets more important in this century.

• Journal of the Korea Construction Safety Engineering Association
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• s.55
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• pp.37-51
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• 2012

There is a shround of mystery surronnding Gaudi. In all probability, the first mist preventing us from gaining acess to his work is the intrinstic mysteriousness of all genius and, at the end of the day, of all human spirit. The situation is complicated by the well-known fact that Gaudi wished to creat an aura of silence around his persona, while, at the same time as maintaining this secretiveneness - in other words, the annihiliation of his fundamental values-gave expression and symbolisation to his moods and incerdible mental power. On a piece of land on the Muntanya Pelada, in the Barcelona district of La Salut, Eusebi G$\ddot{u}$ell Wanted to build an urbanisation inspired by the concepe of the garden city. in this he sought to return to nature, health and an escape from the insalubrous industrial city. Gaudi worked on the construction of this park between 1900 and 1914, and even moved his home there in 1906. An outstanding feature of park G$\ddot{u}$ell is the integration of architecture with nature. In other to save the natural slopes, Gaudi built viaducts from brick pillars, which he covered with stone obtained from the excavation.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.63-70
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• 2006

This study investigates and analyzes natural traits in Gaudi's architectural designs on the assumption that the naturalism in his architectural designs has been built heavily on regional cultural background. In particular, focusing on four buildings Gaudi designed in his late years, this study distinguishes between natural traits found in ornaments and details, and natural traits as organic expression of form. This study shows, first, with regard to natural traits in ornaments and details, organic motives were applied to patterns, plastic objects, and parts of the building. Second, natural traits in organic expression of form were reflected by typifying $Catalu\tilde{n}a$ regional nature, using curved lines of organic shapes and realizing lively natural creatures. It is remarkable that Gaudi developed his architectural designs as unique magic naturalism based on his imagination. And In this century 'Regional Culture' gets more important in architectural designs. Gaudi's architectural works can be appreciated to represent very well $Catalu\tilde{n}a$ regional cultural identity by using properly its natural motives and objects.