• Korea Science and Art Forum
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• v.37 no.5
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• pp.119-133
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• 2019

This study is as skyscrapers are becoming increasingly taller, more constructors have decided the height alone cannot be a sufficient differentiator. As a result, atypical architecture is emerging as a new competitive factor. Also, it can be used for symbolizing the economic competitiveness of a country, city, or business through its form. Before the introduction of digital media, there was a discrepancy between the structure and form of a building and correcting this discrepancy required a separate structural medium. Since the late 1980s, however, digitally-based atypical form development began to be used experimentally, and, until the 2000s, it was used mostly for super-tall skyscrapers for offices or for industrial chimneys and communication towers. Since the 2000s, many global brand hotels and commercial and residential buildings have been built as super-tall skyscrapers, which shows the recent trend in architecture that is moving beyond the traditional limits. Complex atypical structure is formed and the formative characteristics of diagonal lines and curved surfaces, which are characteristics of atypical architecture, are created digitally. Therefore, it's goal is necessary to identify a new relationship between the structure and forms. According to the data of Council on Tall Buildings and Urban Habitat (CTBUH), 100-story and taller buildings were classified into typical, diagonal, curved, and segment types in order to define formative shapes of super-tall skyscrapers and provide a ground of the design process related to the initial formation of the concept. The purpose of this study was to identify the correlation between different forms for building atypical architectural shapes that are complex and diverse. The study results are presented as follows: Firstly, complex function follows convergence form characteristics. Secondly, fold has inside of architecture with repeat. Thirdly, as curve style which has pure twist, helix twist, and spiral twist. The findings in this study can be used as basic data for classifying and predicting trends of the future super-tall skyscrapers.

• 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.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Korean Architects
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• no.2 s.239
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• pp.73-84
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• 1989

대한항공에서는 김해에 위치하고 있는 공장의 후생복지관 건립 계획을 마련, 지명 현상공모를 실시하였다. 바로종합건축, 신한종합건축, 창조종합건축 등 3개 건축사사무소가 지명된 이번 현상고모는 대한항공이 추구하는 직원득의 복리후생시설로서 현대적 조형미와 기능성을 충족시키고 후생복지시설로서의 대중성 및 장소 성을 획득하며, 고도의 정밀을 요하는 항송산업 창달에 이바지 하고자 하는 기본목표를 설정, 근로자 복지향상에 그 일익을 담당할 후생복지관은 지난 ‘88년 12월 17일로 응모가 마감되었다. 본지에서는 아직 당선작이 결정되지 않은 3개 건축사사무소(안) 을 모두 게재하며, 아울러 당선작 결정에 따른 내용은 다음호의 지면을 통해 알리고자 한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.1
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• pp.52-60
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• 2021

The aim of this study was to derive a new trend by analyzing installations using 3D printing that are out of the limits of size and design according to the trends of developing 3D printing technology. This paper classified the types of installations using 3D printing and analyzed them with two trends: the trend of design and the trend of output. The trends of installations using 3D printing derived from this study are as follows. First, as the implementation of design through an algorithm is accomplished, the transformation appears with the atypical design that is prominent in complex expression. Second, Robotics and FDM 3D Printing is fused, which is changing the existing paradigm. Therefore, the production and utilization of installations using 3D printing proceeded at a faster pace through the interaction between the algorithm design method and freeform 3D printing technology. This study was conducted on installations using 3D printing around the world and played a basic role in the research on the production of installations using 3D printing along with domestic 3D printing technology to be developed in the future. Follow-up studies in various aspects, such as materials and combination methods, will be needed.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.329-334
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• 2021

This thesis examined the characteristics of constructivism that brought about expanded expression of modern jewelry, and also organized how the constructivism was utilized for jewelry. The objective of this study is to examine the attempts of new materials based on constructivism and various expression styles, and also to understand the concept of constructivism developed into an element of complex formative expression. For this, this study organized the characteristics of constructivism that was initially expanded from Bau Haus in the aspect of expression through the composition of material and space, and also analyzed the jewelry artists' methods and attempts to express various materials. As a result, the constructivism showed the expansion of the formativeness of jewelry in the formative aspect of steric expression and in-depth concept through the composition of architectural pattern, visualization of space, and use of other materials, which becomes an example of basic formative element of modern jewelry design. However, it is limited to the material formative element of constructivism, so the expansion of design would be needed. Thus, there should be more researches on the expansion of various jewelry designs that could express the philosophy of constructivism.

• The Journal of Engineering Research
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• v.8 no.1
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• pp.13-22
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• 2006

The purpose of this study is to find out how we can improve the Registered Cultural Properties System in order to preserve and utilize of modern buildings which have been damaged and destroyed. The main object of the Registered Cultural Properties System is to build the cultural properties preservation system. But nowadays, it is very difficult to preserve modern buildings in city areas because of the desire of development for the site. So we need to approach economically in order to compensate for Registered Cultural Properties System. In this study, I suggested 4 type of system to preserve modern buildings by economical and lawful approach.

• Archives of design research
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• v.19 no.1 s.63
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• pp.49-58
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• 2006

This study is on the general characteristics of 'Monolithic' architecture. The intentions of monolithic architecture can be assumed as an attempt to replace the formal looseness or difficulties of understanding formal complexity of modern architecture, or a trial to react against contemporary avant-garde architectural tendency typically characterized as unstableness, uncertainty, fluidity, and articulation to reestablish autonomy of architecture. Buildings in this category coincide in their extreme economy and simplicity of overall form and consistency of external appearance while showing great expressional capacity with very limited formal means. Even though monolithic architecture still seems a little unstable and ambiguous in historical aspects, it can be considered as strikingly shaped objects or autonomous forms with identities, logics, and representation that promote recognition. Using architectural techniques of scale, colors, materials and finishes, monolithic architecture shows strategically invested surfaces that mediate between the inside and the outside, and shows unexpected and mysterious autonomy. This kind of monolithic approach is also found in interior space as a separate objects that contain functional space inside, or as formal elements that overflow the boundaries of conventional architecture by eliminating the distinction between floor, wall, and ceiling.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.25-36
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• 2019

Contemporary architecture is showing its deconstruction and departure from modern architecture based on rationality, such as reductionism or virtualism. This means a shift from a mechanistic and ecological world view to an organic and ecological view, from a deterministic reason to a reason for a possible secret static. This study examines the potential of fractals, a scientific theory of complexity that is emerging as a new paradigm in the 21st century, as an appropriate alternative to contemporary complexity architecture. The method and scope of this study were understood and its features were identified through literature and data research and prior study review. Based on the organic nature of fractal geometry, we analyzed the works of contemporary architects(Frank Gehry, Bernard Tschumi, Steven Holl, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Zvi Hecker, Ito Toyo) and studied the possibility of architectural design using the principle of fractal. As a result, fractal geometry, similar to the patterned order of nature, has an infinite set of organizational functionalities in architecture and can be applied in various aspects of design analysis. Architectural designs based on the fractal theory will require more research and development to realize dynamic design representation using digital computers.

• Journal of the Korea Convergence Society
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• v.11 no.4
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• pp.179-188
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• 2020

Kenzo Tange was interested in how to express tradition in the process of creation of modern architecture and tried to express the traditionaluty of Japanese architecture in his own way. In particular, Tange expressed Japanese tradition in terms of building materials and components from the point of view of his own 'New Tradition'. Tange created the 'Japanese style of architecture' based on traditional architecture to match the discourse of international architecture and distinguish it from the Western one, by harmonizing the plasticity of Japanese traditional architecture with the Western technology in building materials and components. Therefore, this study aimed to analyze the signs and traces of traditions in the building materials and components in his architecture. Through this study, I would like to have implications for our architecture, which had a very different process and result from Japan in digesting and combining it with traditional architecture although Western civilization was accepted at about the same time.