• 디지털융복합연구
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• 제16권7호
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• pp.393-400
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• 2018

현대사회 속에서 주류로 부상한 1인가구를 위한 맞춤형 가구에 관해 디자인하고자 한다. 특히 삶의 질을 높이려는 세대의 경향에 주목하여 아트퍼니처에 가까운 심미적인 가구들을 디자인하고자 했으며 이를 위해 현재 발표되고 있는 국내외의 아트퍼니처를 살피고 그 경향들을 토대로 조합형 커스텀디자인이라는 개념을 제시하고자 한다. 조합형 커스텀 디자인은 기존의 것과는 달리 파츠별로 구분하여 독립된 디자인을 만들고 이를 융합함으로서 보다 다양하면서도 적극적인 조형을 가능하게 하는 것으로 삶의 질에 많은 관심을 보이는 1인가구들의 능동적인 성향과 궤적을 같이 하며 특히나 다품종 소량생산에 적합하기에 기존의 공예공방 체계 속에서 생산이 가능할 것이며 실제 조합형 커스텀 디자인을 통한 두 개의 테이블을 통해 가능성을 확인할 수 있었다.

• 미술이론과 현장
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• 제8호
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• 건축역사연구
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• 제20권4호
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• pp.29-44
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• 2011

Imre Makovecz, a Hungarian architect, has chiefly known for his unique organic works. He has taken a lot of sharp criticism against mere functionalistic and stylistic approaches toward modern architecture. Instead, he has desired to pursue a true embodiment for organic beauty and hungarian cultural heritage in architecture. Although most of his works reside in Hungary, he has become an internationally recognised architect for his unique works. This article attempts to identify Hungarian culture and its influence to Makovecz's architecture. It also examines how Makovecz investigated Hungarian folk art traditions and primitive craft patterns, and then applied the lessons learned into his own architectural designs. Then, this article attempts to expose the principles of his organic architecture deeply influenced by the philosophy of Rudolf Steiner. Finally, it concludes with a discussion of the benefits and challenges of employing similar approaches for the development of a rich architectural tradition.

• 복식
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• 제41권
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• pp.117-138
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• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• 한국가구학회지
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• 제25권1호
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• pp.36-44
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• 2014

This study was investigated to sensible characteristic and physical characteristic to estimate value of the craft for Pinus densiflora and Pinus densiflora for. erecta Uyeki wood. The sensual characteristics of wood are evaluated by wood figure, wood grain, odor, and the physical characteristics by weathering, abrasion, surface roughness and hardness. The wood figure of these species were observed at flat grain in the radial section and edge grain in the tangential section. Also, burl's figure was observed in Burl of Pinus densiflora wood. Pinus densiflora for. erecta Uyeki wood had volatile aroma compounds such as Camphene, Thymyl ether, ${\alpha}$-Longipinene, etc. Pinus densiflora wood had volatile aroma compounds such as ${\alpha}$-Longipinene, (+)-Cedrol, etc. The moisture soption, abrasion, hardness and roughness were very different between the two species.

• 건축역사연구
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• 제1권2호
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• 복식
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• 제65권7호
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• pp.19-31
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• 2015

Futurists put forward creative fashion by combining art and functionality. This led to a new aesthetic approach in how we view modernized industrial cities. Ernesto Thayaht, a futurist, introduced the "Tuta", which was simple and practical clothes. Tuta expressed the imagination and aesthetic values of Futurism. The characteristics of the Tuta were categorized into the following: Form, Colors, Materials, and Details. The results of examining its characteristics as follows: Tuta had a linear and simple planar pattern, which could be made with one cloth. The same modernized urban colors were used for the top and the bottom. Practical Materials, such as cotton and linen were used because they were easy to wash. Tuta excluded unnecessary ornaments, and only included functional details that would allow for comfortable movement. These design characteristics of Tuta revealed functionality, popularity, modernity, and innovativeness of formativeness. Tuta presented a new model of fashion in the early 20th century and completed the modernization of clothes. Tuta reflected the democratic and equal spirit of the era by innovating and overcoming the structure and form of conventional clothing.

• International Journal of Contents
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• 제6권3호
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• pp.71-82
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• 2010

The golden ratio is a mysterious number that surprisingly appears in science, physics, mathematics, as well as in nature. The number 1.618 seems to be a universal constant, and crops up whenever the subject is of beauty or elegance. Beautiful flowers and sea shells and also attractive people have a common number and that is 1.618 or $\varphi$ (phi). This paper does a study into the story of phi, and describes how the golden ratio is derived. Artists, architects and designers have employed the ratio into dimensioning their works of art to achieve visual appeal. Examples such as the Greek Parthenon of the Acropolis and paintings such as the Last Supper all use this magic number. An investigation was conducted among 50 people to test if looking at golden proportioning was actually appealing, or if it was just a type among overzealous enthusiasts. The results show that the golden ratio may actually be of some use.

• 한국가구학회지
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• 제25권3호
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• pp.173-181
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• 2014

Since the onset of the 21st century, digital technology has been widely adopted in various fields of art; it has enabled artists or designers to try diverse and brand-new ways of expression in literally every possible field of art, including painting, sculpture, and other design work. Furniture design is no exception. From the initial design step to the final production of furniture, modern digital skills are broadly utilized, creating a whole new set of designs that would otherwise be hardly conceivable and realizing a highly efficient furniture-making mechanism. More recently, the 3D printing technique, which is called a 21st century alchemy, has been successfully commercialized and is getting more popular, heralding yet another innovative shift in the area of furniture design and production. In this context, this study discusses the background of the furniture design using digital technology, and identifies the correlations between the modern digital technology and furniture design by redefining the concept of such digital technology. By reviewing multiple real-life cases, some of the key digital expressions found in modern furniture design are also analyzed. This study aims at suggesting the reason why digital technology is significant and promising in diverse ways for the development of modern furniture design.

• 패션비즈니스
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• 제26권5호
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• pp.76-90
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• 2022

The rapid growth and influence of digital technologies have had a profound effect on modern society. Companies and businesses can connect through SNS(social network service accounts). The importance of mass media empowers the creation of virtual images that are more realistic than time and space. Unlike traditional reproduction or imitation, the virtual images created in this way are reproduced in a form that lacks the original inspiration's essence. Jean Baudrillard described this phenomenon as the theory of simulation. Baudrillard argued that imitated simulated images replace reality. He stated that reality is lost under excessive images in modern society. In response, based on an understanding of the theory of hyper-reality that emerged through the late stages of the order of simulacre, this study aimed to analyze modern fashion's method of reproducing hyper-real images and investigate the method's characteristics. This study examined the characteristics of hyper-reality described by Baudrillard and analyzed the method of artistic expression of hyper-reality. Based on this method of expression, reproducibility, following the stages of image simulation, was derived. A specific case applied to fashion was analyzed, and based on the image reproduction method, specific characteristics of hyper-reality characteristics in fashion were obtained. Sixty-four collections were selected, out of which 155 images and 43 brands demonstrated the principles of image transformation.