• 건축역사연구
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• 제3권2호
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• pp.125-141
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• 1994

Alois Riegl's aesthetic theory of visual perception provided one of important conceptual backgrounds for Vienna Art Nouveau architecture. Riegls theory of visual perception consists of geometric style and two-dimensional transformation. Riegl's theory of geometric style is based on the modern aesthetic theory of abstraction, which says that the artistic perfection can be obtained not from a direct imitation of natural objects, but from an abstract transformation of them. Riegl's theory of two-dimensional transformation, on the other hand, aims at obtaining artistic perfection by disintegrating volumetric conditions of natural things into planes and combining the planes thus obtained into another new world of art. These two theories of Alois Rigl's provided an important aesthetical background for the design strategy of 'abstract ornamentaion of two-dimension' in Vienna Art Nouveau architecture. This paper is to review the basic concept of Alois Rigl's theory of geometric style and two-dimensional transformation.

• 한국가구학회지
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• 제15권1호
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• pp.63-72
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• 2004

This study explored furniture and furniture designers in Art Nouveau which was called as Jugendstill in Germany. Jugendstill was developed on the center of Munchen, Darmstadt, and Berlin from the late 19th century to the early 20th century. And it was developed differently from Art Nouveau in the rest of European countries as the Rococo style and the Baroque style of Germany were done so. The furniture designers of Art Nouveau pronounced their use of decorative motifs from nature with birds, flowers, insects, fish, even landscape represented, but the designers in Jugendstill made the elaborate curvilinear design simply stylized and abstract: the design of Art Nouveau was seen as the superfluity of the ornament but the design of Jugendstill was seen as the simplified lines and restrain of the ornament. Hence, Jugendstill was deeply related with the scientific and rational thought of Germany, and then, it was based on the Deutscher Werkbund found by Hermann Muthesius.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.56-63
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• 2005

This study aims to understand the ornamental space in Art-Nouveau style which was made up the ornamental aspect and spatial aspect. So that It is needed to classify the ornamental space into three categories according to the way of construction; pictorial composition, non-objective composition and organic construction. To find the meaning of these ornamental spaces, works of Art-Nouveau are analyzed into ornament and space, in result we know that process of integration, relativity of ornament as a part and forms of expression in ornamental space have some regulation; use of natural motive, repetition of image and organic combination. Whereas the ornamental space in Art-Nouveau style has comprehensive capacity between antagonistic relations just like tradition and new mechanism, the space could receive a lot of different ideas and express these ideas as ornaments. Although the ornamental space also had weak points which were the lack of transformation and the difficulties of the application of other design due to the perfection itself, we could create new space which meets the requirements of the times, if we develop and make up for the weak points in the ornamental space under the principles of dialectic.

• 복식문화연구
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• 제30권1호
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• 디지털융복합연구
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• 제12권1호
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• pp.563-572
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• 2014

아르누보는 예술을 새롭게 개혁하여 젊게 만들고자 하는 목적에서 출발하였다. 역사상의 양식 모방에 반기를 들어 삶과 주변 환경의 총체적 변혁을 포괄하는 현대적이며 시류에 맞는 양식을 요구하는 운동이었다. 장신구 또한 이전의 양식에서 탈피한 새로운 양식을 구축하고자 하였으며 소재와 재료의 새로운 시도와 함께 장인적 기술력이 강조된 섬세한 장신구가 선보였다. 아르누보의 양식은 유럽 전반에 각기 나라의 문화에 맞추어 다양하게 전개되었으며, 짧지만 강렬하게 20세기 이후 양식의 기초가 되었다. 아르누보 이후의 장신구는 산업과 예술 장신구로 나뉘어 발전을 거듭해왔으며 현대에 이르기까지 많은 발전에 영향을 미쳤다. 아르누보는 장신구를 재화의 가치를 넘어서 예술적 가치로서의 확립을 이끌었다. 아르누보의 다양한 조형성을 통해 표현된 심미적 장신구와 생산력과 기능성에 치우친 단조롭고 귀보석 중심의 현대 장신구 디자인과는 차이를 갖는다. 현대에는 개성과 자아표출을 중시하는 문화 예술의 시대로 창의적, 독창적인 디자인을 추구한다. 따라서 시대적 배경과 사상을 통해 표현된 아르누보의 다채로운 색상 표현과 다양한 소재와 모티프의 장신구 양식은 현대 장신구의 새로운 디자인 개발 과 디자인 흐름을 이끌어 가기위한 귀감이 될 것으로 본다.

• 디자인학연구
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• 제13권3호
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• pp.101-110
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• 2000

세계의 역사적인 문화재를 살펴보면 도자기가 차지하는 부분이 매우 광범위하다. 오랜 세월이 지나는 동안 도자는 많은변화와 발전을 가져왔고 현대에 이르러서는 필수품을 초월하여 예술의 한 분야로서 인간생활에 큰 기여를 하고 있다. 19세기 전후에 등장한 아르누보 스타일은 도자공예에 적지 않은 영향을 주었으며 현대에 와서도 복사되어 생산되고 있다. 특히 현대인의 table ware Design에 응용되어 개인의 고상한 개성을 잘 나타내어 주고 있으며 풍요로운 식탁으로서 표현되고 있다. 본 연구는 아르누보 도자기의 가능성 즉, 조형적인 특성을 이용하여 전통적인 조형미를 표출시키는 동시에 현대 도자 디자인의 창의력 표현영역을 확대함에 목적을 둔다. 이를 위해 본인은 문헌조사와 자료분석을 하기 위하여 지금까지 제작된 대표적인 아르누보 도자기를 1895년부터 현대에 이르기까지 시대순으로 나열하였다.

• 한국가구학회지
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• 제24권4호
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• pp.350-364
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• 2013

Based on the background of the times and theoretical background that influenced the formation of the works of Charles Rennie Mackintosh, one of representative architects of Art Nouveau, this study examined the formative characteristics of furniture design by period. In addition, his influences on the modern furniture design were also reviewed. In the latter half of the 19th century, due to Arts and Crafts Movement, the popularity of Art Nouveau was not high in England and due to conservative and traditional culture, Mackintosh had difficult time to display his ability in England. On the other hand, because Glasgow, one of industrial cities located in the center of Scotland where he had grown was an open and modern city, Mackintosh could win international fame in architecture and furniture design thanks to the atmosphere. Furthermore, it is found from the formative characteristics of his works that Historicism, Arts and Crafts Movement and Japanese culture and the influences of Continent became his theoretical background. His works creatively combined the noble design of Scotland and Art Nouveau to be considered a simple and pure style with a straight tendency and his working period can be divided into Beginning, Middle and Last Period according to the formative characteristics of furniture design. His constituting principle that decorated the structure influenced the Wien Secession's activities to form Wiener Werkstaette and this finally became the important background to develop to 'Modernism Design' through Art Deco and Bauhaus.

• 디지털융복합연구
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• 제12권12호
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• pp.601-609
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• 2014

아르누보(Art Nouveau)는 자연을 모티브로 한 양식으로 인간의 삶의 질을 높이려는 현대디자인의 이념과 상통하여 식물을 주로 모방한 곡선을 사용하면서, 자연친화적인 특징에 그리스 여신의 이미지를 가미하여 헤어바이나이트를 디자인하여 제시하였다. 이 논문의 연구범위는 다양한 곡선을 사용한 아르누보 양식 중에서 르네 랄리크(Ren$\acute{e}$ Lalique)와 에밀 갈레(Emile Galle)의 아르누보 양식에 기초하여 꽃과 유기적으로 연결되어 있는 아르누보 양식을 응용하였다. '색들의 향연'으로 에오스 Eos(새벽의 여신)와 헤스티아 Hestia(불의 여신)를, '선들의 향연'으로 아르테미스 Artemis(달의 여신)과 데메테르 Demeter(땅의 여신)로서 총 4개의 작품을 제작하였다.

• 한국의류학회지
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• 제34권2호
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• 패션비즈니스
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• 제23권4호
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.