• Review of KIISC
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• v.31 no.6
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• pp.41-46
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• 2021

홈, 산업 환경, 운송 네트워크 및 기타 장소의 사물 인터넷 장치가 계속 확산됨에 따라 악의적인 IoT 네트워크 공격자의 공격 표면도 증가하고 있다. 2021년 4월 IBM에 따르면 네트워크 공격 지표 중 전체 IoT 공격이 매년 500% 증가하고 있다. X-Force 연구에 따르면 이 급증은 주로 미라이 봇넷과 코드를 공유하는 비교적 새로운 봇넷인 Mozi 봇넷 활동에 의해 발생한다. 2020년에 이 악성코드는 한 해 동안 탐지된 총 IoT 공격의 89%를 차지했다. 2020년 3월 팔로알토 네트웍스의 Unit 42 IoT Threat Report에 따르면 IoT 임베디드 기기 대상 위협은 익스플로잇 감염, 멀웨어, 사용자 정보 탈취로 나뉜다. 그 중 IoT 임베디드 기기의 주요 익스플로잇은 네트워크 스캔, RCE, Command injection, Buffer Overflow 등으로 관찰된다. 본 논문에서는 이러한 IoT 환경에서의 취약점 악용 공격 대응 및 탐지 정책 생성을 위해 IoT 취약점을 악용한 익스플로잇을 분석 연구하였다.

• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.47-54
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• 2011

In Alvar Aalto's designs, important factors of complex building designs including Wolfsburg cultural center are that they insinuate how to develop each architectural type and how to combine them in a building. The humane and physical background studies, and wholistic and systematic approaches are adopted to fulfill research purposes. Comparison with other buildings are necessary to reveal true meaning of this building. The result of analysis show characteristics of Wolfsburg cultural center as follows; hybrid composition of mass and elevation, spatial effect using level difference and light, massing variation of roof, and creating space for various activities. Wolfsburg cultural center designed in late 1950s has greatly affected Aalto's later works through various architectural experiments because it is the first cultural complex project that combined various architectural types. Especially library in the cultural center has shown transitional characteristics to famous fan-type libraries of 1960s while maintained features about Viipuri library. Wolfsburg cultural center act as an another type which present new principles of clustering, massing and exterior design. Its true meaning lies in forming a humanizing place beyond spatial configuration.

• 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.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.13-22
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• 2011

The purpose of this study is to analyze Alva Aalto's libraries for understanding his efficient induction of natural light. To fulfill this purpose, Alvar Aalto's thought about library and natural light are examined through his working years and building types. The comparison of his libraries on usage of natural light shows different ways of natural light induction based on different locations and programs of libraries. Similarities and differences of Alvar Aalto's library architecture have strong relationship to the usage of natural light in libraries because Alvar Aalto himself regard reading as the core function of library and the efficient use of natural light is the main key of reading. In his natural light planning, regional characteristics including environmental factors and programmatic differences act as a basic standard for natural light plan. Especially, altitude of sun and its path, seasonal features affect the induction way of natural light. While conical skylights used at Viipuri library shows the characteristics of universality in Modernism architecture, later libraries presents not only various kinds of pan-shape plan but different ways of inducing natural light in according to appropriate function. From conical skylight to monitor with curved reflection wall make it possible shed diffused light to reading space and this affects to form Alvar Aalto's organic architecture. As a result, using natural light in Alvar Aalto's library architecture act as the core of forming library concepts and their development.

• Journal of the Korea Furniture Society
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• v.14 no.1
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• pp.91-102
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• 2003

Modern design background of Scandinavia counts the Industrial Revolution and functionalism of Deustscher Werkbund and Bauhaus. However, Scandinavian has created their characteristic 'Scandinavian Modern Furniture' as an adaptation to their environment which are organic form based on their nature, affection of natural material, and handicraft tradition. Finish architect Alvar Aalto and Danish architect Arne Jacobsen rendered great contribution to worldwide reputation of Scandinavian furniture design. Both of them have hold tradition shared historically and culturally in common, brought the weighty traditional thoughts enable to develope their unique design. Especially they had continuous experiment of wood shaping and renovation of manufacturing technique so that they could made their chair design -the laminated bentwoods chair and moulded plywood chair- functionally comfortable. In point of view, the purpose of this study is to analyze the characteristics of the chair design of Alvar Aalto and Arne Jacobsen, focusing un their bentwoods chair. For this purpose, the background of bentwoods chair design was investigated and in the philosophical, formative, and technical aspect, their bentwoods chair design were compared and analyzed.

• Journal of architectural history
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• v.15 no.3
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• pp.43-57
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• 2006

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.91-99
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• 1997

Alvar Aalto has pursued National Romanticism, cultural art movement in scandinavian peninsula, organic concepts of growth and suitability, comprehensive view of nature including a possibility of coexistance of human-being and the nature well harmonized. For instance, his design expressed local features of the nature, human emotions instead of geometical arts and mathematical principles. It is noteworthy today that he built up the identity with satrical architecture vocabularies, different from modern arch-itechtural idiology. The characte-ristics of his design related to interior architecture are collectively as follows; The first, Space discontinuity of the interior and exterior, gradual process by joints which are inclined to collage with many shapes in plan and section of the space and such joints are adjusted by sensual ways and stressed with inner collectivity in his works. The second, He pursued the architectural orderfor modern irreqularity, various changes and sensual harmonies. As result, free curved line, fan shape and irregular modeling were individually expressed by technics of natural features and national characteristics of Finland. The third, Organic synthesis. A harmony through med-ums in its space, materials and space effectiveness relations are made and expressed for mixed design especially harmonized of all the materials he planned, entire harmony with total design, itemized details, materials and furnitures in entire space. The fourth, The interest of the nature based on his sense harmonized with nature made him mainly use native materials, lumbers and red bricks masonry and showed and arranged various interior sky light and grazed in to let natural light in, harmony with garden to sensually cohere to the nature and courtyard, etcetera. His major subject are to direct architectural developments through the nature and human-being in his works. At this point, it is considered that his direction of the locality and independence as a human-being made the concepts of organic space structure possible.

• Journal of architectural history
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• v.19 no.2
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• pp.67-83
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• 2010

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is "Man the Player" as well as "Man the Thinker", of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjo Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.157-164
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• 2019

This paper investigates applicable methods of using machine learning(ML) in design process that is currently at infant stage and discuss how designers can use machine learning in UX design process. This research is differentiated from design method for machine learning-based products or services. For this purpose, this paper conducted literature reviews and case investigation and discussed three categories of design method of combination with such as 1) UX design centered ML, 2) ML system centered UX, and 3) UX-ML matchmaking. With this investigation, the workshop was conducted with specifically applicable methods of 2) and 3) for designers. Throughout the workshop, this paper analyzed each method' process with pros and cons in details. Throughout the process, this paper suggests precise methods of applying ML into UX design process.

• Archives of design research
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• v.15 no.4
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• pp.177-188
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• 2002

A thousands of chairs have designed from the Victorian era to the present. Thonet's Nol4 chair in 1859, Wright's high-back chair in 1904, Ritveld's red/blue chair in 1917, Breuer's Wassily chair in 1925, Aalto's Paimio chair in 1932, Eames's DAR chair in 1948, Piero Gatti's Sacco chair in 1969, Starck's Von Volgelsang chair in 1984, Stumpf's Aeron Chair in 1992, Little's 'Coat of arms' chair in 1994 - the list of architects who have seized the opportunity to express their theories in the design of a chair is seemingly endless. Architects such as Machintosh(1868-1928), Wright(1807-1959), Aalto(1898-1976) included chairs within their artistic schemes for interiors and buildings. But as the manufacture of chairs moved away from the domain of the craftsman towards that of the industrial process, architects were also ideally positioned, with their background knowledge of engineering, to pioneer innovative chair design within the constraints of modern manufacturing technology. Beyond matters of function and structure, the fundamental worth of chairs, past or present, lies in their communication of attitudes, ideas and values. The persuasiveness of a chair depend on the clarity of its rhetoric. Chair has become an ideal medium for designers to make their visual statements and construct their individual manifestos. In chair design there is a ping-pong game played out between absurd and useful design, and this game is one way in which the design profession explores itself.