• 디자인학연구
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• 제19권5호
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• pp.151-160
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• 2006

조선시대 회화를 보면 산수화나 풍속화 등도 유행을 하였지만 서민층에서부터 사대부층까지 다양한 계층에게 사랑을 받은 것은 민화이다. 민화는 허세와 가식이 없고 애써 기교를 부리지 않아 소박한 매력을 제일로 꼽고 있고, 자연스러우면서도 솔직하고 회화적인 맛 또한 일지 않고 있다. 이러한 민화 가운데에서도 책거리 그림은 유교적 토대 위에 자연과 인간과 그 환경이 조화를 이룬 삼의 공간의 소우주를 표현하고, 인간의 삶을 예술의 중심에 놓은 근대지향성이 엿보인다. 본 연구에서는 책거리 그림 중에서도 '쌍폭 책거리' 그림을 대상으로 선정하여 그림에 대한 색깔, 사물들의 배치, 사물의 위치, 서로간의 상관관계, 사물의 방향, 다소점에 대하여 분석하였다. '쌍폭 책거리' 그림이 가지고 여는 특유한 공간감과 현대의 공간 배치구조와의 상관관계를 연구 한 결과 다소점, 원근의 무시, 역원근법, 평행투시법 등의 표현방법은 평면의 그림에 입체감을 표현하고, 배치되어있는 사물들에 생동감을 더 해준다는 것을 알 수 있었다. 본 연구를 통하여 조선시대 '쌍폭 책거리' 그림의 구도배치가 현대적인 구도배치에 모티브로 적용될 수 있음을 알 수 있었다.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.21-28
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• 2010

This study is purposed to understand the spacial usage of the furniture in detail for interior architecture. Many documents have prescribed the spacial furniture at random. While modernist have been interested in the spacial usage of the furniture, the importance of the spacial furniture stands out in architectural space. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. The villa, the weekend home of the Savoye family, was built between 1928 and 1931. Particularly, the villa Savoye was focused for this study. Le Corbusier viewed desks and case pieces for storage as architecture, and the unite furniture and architecture by developing cabinets in standard modules that could be painted either the wall color to become part of the wall or in contrasting colors to stand out as furniture. Spacial furniture was used architecturally in the interior as well, it gives the space an unexpected playfulness with the color of the finishing materials. The various usage of the Spacial furniture constitute an element of great architectural richness. They have a unique principle based on emotional order and make the man move to another space and experience the spacial connection. In particular, the furniture that was considered by Corbuisier have rational function, division of the space, leaning the structure, and so on. The furniture as the element of the space composition can change the architectural space and view as well as connecting each other. Spacial furniture appear as physical ones called wall, floor, column, and existential value as a living space.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.112-119
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• 2013

This study focuses on an innate 'spiritual' quality of arts including building art, or a meaning of the religious philosophy of 'creativity-art'. In particular, this focuses, among two aspects in roots of modernism, especially on the irrational facet veiled by the name of 'a new' religious faith, rather than the rational such as the function. In fact, although modern Avant-gardes' religious philosophical faiths called by different names respectively have generally considered as one of the sources for their designs, nevertheless it had veiled because of the religious 'orthodoxy power' at that time. Arguably, as known well, the creativity of art is intimate relation with a religious ideas. Thus, for this purpose, this study treats this theme in central these three issues; Orientalism, Universalism, and Froebelianism which are intimate in the realm of religious philosophy. Ultimately, through a research on the universal religious philosophy in all three objects as keeping a quality not of pantheism but of 'Panentheism' emphasizing the individual's 'divine' artistic volition, this study deepens the understanding on the Creativity-art as the main characteristic of modernity. Namely, it is very important to draw a distinction between pantheism and Panentheism; because, through the pantheism, it is difficult to comprehend a stream and a characteristic of the twentieth new religious thoughts including those of modern avant-garde artists, as well as their existential free-will as a whole.

• 한국의상디자인학회지
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• 제11권3호
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• pp.27-41
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• 2009

As for modern people, the fashion accessory plays a role in allowing the whole coordination in clothing to be highlighted, receives environmental factors in the complementary relationship with clothing, and is being progressed rapidly as well. Among accessories, it is considered to be probably significant to examine especially about the historical consideration and the transitional process in bag, which becomes a means of expressing free individuality in fashion while recognizing importance of bag, which is being developed today as a necessary article along with diverse lifestyles in each individual. Accordingly, the purpose of this study was to examine which correlation a bag comes to have with clothing according to a historical change in fashion and was changed in the transitional process of historical consideration on bag from the latter half of the medieval times to the modern times. Also, it tries to analyze on features in a form, material, kind, and color by period in a bag. Thus, the aim is to be conducive to a future qualitative research on bag Through the research process, it could be known about which a bag has been changed into diverse forms while experiencing several processes in order to conform with a flow of clothing, which is required by society according to a change in period, and about its historical significance, value, and aesthetic characteristics. It was certainly necessary for walking about with putting commodity necessary for people in it. As one of accessories that cannot be separated from clothing, it makes it available for knowing user's social standing and position and living scale, and makes it realized for the importance influence upon establishing a woman's identity.

• 한국실내디자인학회논문집
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• 제20권5호
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• 한국실내디자인학회논문집
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• 제26권6호
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• pp.135-144
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• 2017

In addition to the well-known 'Frankfurt Kitchen', Austrian female architect Margarette $Sch{\ddot{u}}tte-Lihotzky^{\prime}s$ architectural achievements include a study on the housing for working class, contribution to the resident participation movement, the planning of multi-family housing complexes, rational floor plan design, and the design and study of interior spaces. The purpose of this study is to investigate how she, who played intermediate roles between an architect and a social reformer, reflected social issues and the demands of living on the housing plans in the Red Wien era and to discuss diverse issues of modern residential planning furthermore. In this study, first, the housing situation in Vienna immediately after World War I was grasped and the architectural and housing discourses at that time were examined. Thereafter, cases of $Sch{\ddot{u}}tte-Lihotzky^{\prime}s$ works were investigated and analyzed. In the period of transition to modern times, the concepts of residential planning of $Sch{\ddot{u}}tte-Lihotzky$, who began as a social democratic architect, often showed transitional tendencies in private and public functions of housing, spatial distribution for the daily life, and functions of modern family and home. However, thereafter, the paradigm of the rationalism-functionalism was already sprouting from her architectural and residential plans. In conclusion, it can be said that the works of $Sch{\ddot{u}}tte-Lihotzky$ has realized the social responsibility of residential planning and become a cornerstone of the later modern housing.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.181-188
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• 2012

Body movements of humans have emotions and these movements have meanings of 'Living Spirits' and 'Emotions'. Also emotions of humans indicate all body movements which are made within the environment. This study aims at providing new potentials to emotional design research methods not only by understanding the characteristics of visual perception according to body movements and but by investigating correlations between sequence which arise by the visual perception and emotions through experiments. As for the scope and method of this study, the emotional space designs were analyzed through the emotional theory study, SD method was used to evaluate emotions and the movements in the modern village and traditional village with similar elements were compared and analyzed for the empirical study. As a result, first it was confirmed waling hours in the traditional village took more than the modern village and it is thought movements of humans are affected by the visual environments. Second, it was confirmed values of the emotional evaluation were higher in the traditional village than the modern village. Third, according to a result of the correlation analysis between space sequence and emotions, it was closed with negative emotions such as 'Closed', and 'Complicated' from positive emotional words such as 'Natural'. 'Open', 'Curious', etc. as spaces are experienced more through movements in the modern village. On the contrary, the emotional intensity of the positive words such as 'In Harmony', 'Beautiful' and 'Warn' through movements in the traditional village increased as spaces were experienced more. As a result of this study, it was confirmed the time, space and emotions have correlations each other.

• 한국콘텐츠학회논문지
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• 제21권6호
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• pp.113-127
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• 2021

본 연구는 탈근대의 건축 공간을 고정되지 않고 지속적인 변화의 개념으로 보고, 변화하는 관계 네트워크로 건축 내 공간 요소를 이해하는 것을 목표로 한다. 연구의 목적은 관계성이라는 관점에서 렘 콜하스와 SANAA의 작품에 나타난 공간적 특성을 밝힘과 동시에 두 건축가의 공간구성 전략을 분석하는 것이다. 연구의 방법은 관계성의 대한 이론적 고찰을 통해 비고정적 관계성의 의미를 정의한 후 렘 콜하스와 SANAA의 건축적 접근방법에 대해 살펴보았다. 관계성을 공간의 프로그램, 환경, 사용자 그리고 가구와 집기로 구분하여 두 건축가의 작품 분석하였다. 결과적으로 두 건축가 모두 조직화에 의해 경직된 프로그램을 거부하고 가능성이 내재된 관계성을 건축공간 활성화 목적으로 활용하고 있다는 점에서는 유사하지만, 렘 콜하스는 사용자의 행위유발 기제의 전략을 사용하고 있는 반면, SANAA는 사용자의 자율적 행위를 담는 이완공간의 전략을 사용하고 있음을 확인할 수 있었다.

• 한국농촌건축학회논문집
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• 제24권4호
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• pp.133-139
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• 2022

This study deals with the formation of Jongyeonbangjeok's Gwangju Factory in the 1930's to 80's, and the findings are shown below: In the period of formation, the factory was rectangular-shaped from north to south, and the structure was located at the center of the site, and in the east of it, there was a dormitory connected from south to north. The building was arranged with an open area on the south. In the east of the site where company houses were located, same-sized structures were arranged along the axis.In the period of change, the factory was restored about the damage from the Korean War, and it went through the process of division into two companies. As a result, the factory in the center of the site was divided into left and right ones, and the dormitory and the group of company houses were, too, divided into two, so division was made largely into southern and northern parts. In the period of stabilization, along with factory extension in each of the companies, welfare for factory workers was expanded by building more houses or opening sport facilities. After the 1980's, too, the existing factories were either extended or remodeled according to the induction of equipment, and some showed changes in their functions due to a fire or such.

• 디자인학연구
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• 제11권2호
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• pp.203-213
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• 1998

다가오는 21세기는 정보와 문화가 지배하는 시대이다. 인간의 삶의 질은 문화의 수준에 의해 좌우된다. 이러한 시대에는 한 나라의 독창적인 문화와 문학적 수준이 그 나라의 모든 것을 대변하게 될 것이며 문화의 총체적인 결과물이라고 할 수 있는 국가 이미지는 막대한 영향력을 행사하게 된다. 이같은 문화주의 시대의 도래는 근대문화의 합리성과 전통문화의 개념을 어떻게 실질적으로 조화시켜 후기산업사회를 맞이해야 할것인가라는 중요한 과제를 던져주고 있다. 이른바 문화의 산업화와 산업의 문화화는 국경없는 국가 경쟁시대에 무엇보다 중요한 생존 전략이 될것이며 한 나라의 독특한 문화가 배어있는 문화상품은 그 나라의 이미지 선양은 물론 고부가가치 산업으로 부상할 수 있다. 일반상품이 편의성, 실용성을 우선 조건으로 개발된다면 문화상품은 문화와 기술 창조력의 척도가 되는 것으로 한 나라나 한 지역을 국제 사회에 인식시키는 실체가 된다. 이러한 국제시장 질서와 문화환경 변화에 대응하기 위해서는 독특한 문화유산을 바탕으로 하여 현대적 기호와 감각에 적합한 디자인을 개발하고 이를 상품화하여 국제경쟁력을 강화해 나갈 방안이 절실하다. 하나의 상품이 탄생하여 시장에 유통되고 최종 수요자에게 도달하기 위해서는 상품의 개발과 유통·판매라는 여러 복합과정에 대한 이해와 각 분야의 시스템화가 필수적이며 또한 어떠한 영역도 소홀할 수는 없겠지만, 본 고에서는 이에 대한 정책·제도적 대안이나 유통과 마케팅적 관심은 논외로 한다. 본 고는 한국적 문화이미지로서 전통문양이 차지하는 비중과 이것이 문화상품이라는 형태로 구체화되는-전통문양이 상품에 효과적으로 활용될 수 있는 상품디자인·개발 과정을 제시하는 것이다. 따라서 이를 바탕으로 한 제도적 장치와 구체적 활성화 방안이 후속적으로 전개되길 기대한다.