• 한국실내디자인학회논문집
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• 제37호
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• pp.12-20
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• 2003

The purpose of this study is to propose a new design principles and to analyze the pattern of art and architecture applying fractal concepts. As this study is based on fractal geometry as a natural science, 1 intented to explain the concepts and provide some methods of generating fractal properties. Two major aspects are discussed. Frist, fractals are geometric shapes that are self-similar, in other words, they iterate a basic shape at ever increasing a decreasing dimensions. Self-similarity, irregularity, and scaling are fundamental characteristics of fractal geometry. Second, the fractal concepts of art and design can be analyzed and used as a critical tool. In both criticism and design, fractals provides a tool In fine, fractal geometry can be provided endless possibilities for artists and designers intended in expressing the more complex underlying rhythms and organic patterns of nature.

• 한국조경학회지
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• 제29권2호
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• pp.1-13
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• 2001

Beginning in the Wei-Chin and Liu Ch´ao era(AD. 220-589), an awareness of natural beauty emerged as the major interest of scholars which created such a social atmosphere that served as the foundation of prosperous Chinese art. During the T´ang period, the desire to achieve natural beauty began to dominate every field of art including gardening. This study covers the T´ang period when scholars began to be conscious of aesthetics. The main objective of this study is to examine the significance of natural beauty as interpreted by Wangwei, an artist representative of the period, and of Wangchuan Villa in relation to aspects of garden theory. This study is mainly based on Wangwei´s anthology, landscape painting describing Wangchuan Villa, and historical records related to the Villa. The summary of conclusions of this study is as follows: 1) Wangwei´s concept of natural beauty is a combination of objective natural beauty and pastoral beauty, which stresses the essential beauty of nature. Moreover, he considered nature as a religious Utopia. 2)Wangchuan Villa, where Wangwei stayed until his death, was a place of seclusion representing his idea of natural beauty. There, he was able to realize the paradise of Buddhism full of zen aspirations. 3)From the perspective of garden theory, Wangchuan Villa can be classified as a suburb villa in terms of location, as a landscape garden in terms of elements, and as a villa based on a typical private land system in terms of forms. In addition, it may be considered as a garden that laid the foundation to realize a field of non-visible image and non-visible landscape, which is fundamental element of scholarly garden design.

• 한국주거학회논문집
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• 제16권4호
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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.

• 한국수학사학회지
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• 제19권1호
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• pp.43-54
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• 2006

본고에서는 $\ulcorner$자연$\cdot$인간, 그리고 황금분할 I$\lrcorner$([1])의 후속연구로 인간의 미의식과 정신적 모형과 약 1백만 년 전 석기시대의 주먹 돌도끼에 나타나는 황금비와, 오늘날도 다방면에서 선호하여 사용되어지고 있는 황금비에 관하여 연구한다. 연구결과 특히 1백만 년 전의 주먹 돌도끼는 인류가 당시에 후일의 예술과 수학의 전제조건이 되는 중요한 능력을 가지고 있었다는 것을 보여주는 것이었으며, 펜, 종이, 자 등의 도움 없이도 정신적인 모형이 존재하여 기본적인 수학적 변환을 가능하게 하였음을 보여준다. 다양한 크기의 주먹도끼를 동일한 황금비를 유지하면서 제작하였다는 것은 수십만 년 후에 나타난 유클리드의 $\ulcorner$기하학 원론$\lrcorner$에서 다루어진 원리를 최초로 보여준 예라고 생각된다.

• International Journal of Costume and Fashion
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• 제15권2호
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• pp.1-17
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• 2015

This paper examines the contemporary relationship between fashion brands and celebrities. Noting the historic role of celebrities in fashion and their current prevalence in the industry, the paper moves beyond discussion of the motives and effectiveness of celebrity endorsement, and instead explores its nature and practice in the fashion sector. The paper proposes a new definition of celebrity endorsement in fashion, offers a classification of celebrities involved in fashion brand endorsement, and presents a typology examining the contemporary means by which a fashion brand may collaborate with celebrities. The typology is defined in context of the nature, length and cost to the brand of the relationship between it and the celebrity. The methodology uses secondary sources and qualitative primary research in an exploratory agenda in order to propose conclusions and suggest ideas for further research.

• 한국실내디자인학회논문집
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• 제27호
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• pp.96-103
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• 2001

The purpose of this thesis is to study on the source, the introductive process and the phenomenon of the regional tendency into Korean modern interior design. To achieve the purpose of this study, the methods and contents are as follows : 1. Explaining the regionalism in the architecture as the source of the regional tendency. 2. Explaining the introductive process of the regional tendency in Korean modern interior design.. For that, 1)Explaining the traditional expression, the leo-corbusian expression and the organic expression with nature in Korean contemporary architecture 2)Explaining the vernacular expression and the abstract expression in Korean modern art 3. Studying the regional tendency in Korean modern interior design For that, 1)Studying the expression of Korean traditionality 2)Studying the expression of the vernacular 3)Studying the expression of the environmental affinity By theme methods and contents, we will study the introduction of the regional tendency into Korean modern interior design.

• 한국실내디자인학회논문집
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• 제26권3호
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• pp.34-44
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• 2017

Korean-Japanese architect Itami Jun that proceeded with primeval architecture based on analogue ideas in the digital era realizing nomad architecture is delivering a totally different meaning in the modern time. Not like the Japanese architectural community equipped with rich technologies showed state-of-the-art architecture after 1980s, Itami Jun' formative consciousness intending to assimilate nature from the original position of things is thought to have started from the relationship with Korean-Japanese painters leading MONO-HA desiring to look at the world as it is and approach the source of existence. The purpose of this study is to analyze the spatial characteristics from the viewpoint of 'Theory of Meeting' which is the essence of the work theory of Lee UFan that made the theoretical foundation of MONO-HA to understand Itami Jun's architectural space in the ideological aspect. Although the characteristics of marginal men appearing in Itami Jun's architectural space as others located on the boundary between Korea and Japan, art and architecture, and functions are valuable research objects, they have not been studied in the aspect of source, so it is needed to research his works and the source of the spatial ideas that led his works. Based on Theory of Meeting claiming that the world becomes the place of experience by the medium of objet which is the structure of meeting, and that human beings can meet the truly opened world by self-awareness through body, the expressive characteristics of Itami Jun's interior space was analyzed. As a result of the analysis, it turned out that Itami Jun's interior space actively expressed Theory of Meeting on the unity of structure and space, and on the trans-boundary by the medium of objet. Conclusively, this study suggests that, in the reality of the modern interior design full of technology-intensive designs, analogue approach moving in the opposite way from technologies could be a better expressive method of design delivering the fundamental human emotions.

• 한국실내디자인학회논문집
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• 제17호
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• pp.65-72
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• 1998

This study intends to analyze the various spatial structures and characteristics of the museum based on the two of the Renzo Piano's recent projects Menil Collection '||'&'||' Museum and Beyeler Foundation Museum Which defined the direction of the "Third Generation" in museum architecture with reference to the quality of spatial experience and design applications. Comparison and analysis were done on the basic spatial organization floor layout accessibility exhibition area lighting plan and circulation between the two museum. Through the itemized common characteristics of the museum the architect's proposal on meaning and direction of the new museum architecture can be viewed. The contemporary museums distinguish themselves quite clearly from their predecessors and this applies both to their own form and to their spatial organization. As the public demands and requests toward the museum building facility expand everyday the architect must respond by providing multiple types of space where people can experience different atmosphere in each area. One concept he used to create multi experienced area was manipulation of the natural light using by the state-of-the-art techniques of the light filtering system and multi-layering roof system to protect the valuable collections against the direct sunlight. But mainly it was to prove his strong belief in "architecture of light" by creating space with minimized meaning by purposely distinguished area in order to provide maximum support to the physical value of the collection " The connection with nature" is another concept which Piano used to provide the public a tranquil experience through out the architecture which engages in a lively dialogue with art. In spatial organization Piano concerned on functionality which not only concentrated on the visitor's point of view but also on the museum staff's comfort. Unlkie the traditional museum he alternates various size of exhibition areas for spatial hierarchy. Specially the spatial flexibility that the temporary exhibition areas are able to be expanded to the permanent exhibition areas by adjoining t재 spaces differentiate Piano's new museum from the rest. museum from the rest.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.21-30
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• 2015

The visual expression system of space realized in Baroque aesthetics is basically grounded on the philosophical view to the world of the time, that is to say the changes of the thinking system in the Renaissance and ontology based on it. Structural aesthetics in Baroque freed from Plato's system of harmony but grounded on Leibniz's process philosophy formed a crucial background to highlight the formal nature of the whole and build a structure based on the inclusive principle of formativity. Also, to solve problems to realize the order and consistency of forms from the whole, Baroque adopted the nonlinear and nonphysical formative system as the principle of building space in works of art. Combining the order system of nature in the Renaissance with manneristic dynamicity as well as formative principle taking shape geometrically, it did establish a variety of aesthetic concepts based on the results of infiniteness and exaggeration expressed from the two forces, the Renaissance and mannerism. This study has found that such Baroque aesthetics did overcome classical planeness and draw continuous mobility from the structures and forms based on that with the transborder concepts of structures, the components of space, as an ultimate system of formative expression. Moreover, this author has drawn and analyzed with the cases of the 17th-century art and architecture the transborder elements manifesting the nature of diverse formative visual elements produced in artistic expressions with that principle of aesthetics, that is the intangible concept of Baroque. Based on that, this researcher intends to come up with technical solutions to solve a lot of environmental and architectural problems we are severely facing nowadays in terms of environmental, physical, and emotional aspects with the theoretical clues and results acceptable to this contemporary era.

• 문화기술의 융합
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• 제6권2호
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• pp.299-304
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• 2020

본고는 영국의 미술, 건축, 사회개혁, 자연 환경의 보존 등 사회의 다양한 분야에 깊은 영향력을 남긴 존 러스킨(1819-1900)의 자연 연구의 내용과 그 역사적 의의를 찾고자 한다. 러스킨의 자연 연구는 어느 특정한 학제에 갇히지 않으며 인간, 문화, 사회의 광범위한 맥락을 포착해 내려 한 그의 시도가 지니는 함의를 총체적으로 이해할 수 있게 해주는 열쇠가 될 것이기 때문이다. 러스킨에게 '자연'은 어떤 구성적 규칙들을 생산하며 인간과 비인간 존재의 모든 측면들을 지배하는 '체계'로서 규정된다. 그 체계는 내부에서의 상호작용과 프로세스를 통해 조화의 상태를 이루고자 하는 생태적 속성을 지닌다. 이러한 자연의 유기적 특질은 러스킨의 연구에서 하나의 '은유'로서 작동한다. 그러므로 러스킨의 자연 연구는 그의 광대한 정신세계를 이루는 여러 요소들을 서로 연결하여 통일성을 형성하는 데 필요한 개념적 기초를 이루었다고 말할 수 있다.