• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.131-134
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• 2006

This study aims to inspect changes of physical expression in surfaces of both building interior and exterior in contemporary architecture. Nowadays society has transformed into more complicated framework with the development of the new media and digital technology in 21 century. Surface's expressivity has been changed with design trend and material development. Although surface study has been mainly concentrated on properties of materials and structure characters, new technology and cultural acceptance enables it extend itself to a new area with various design methods, taking its place as an important contemporary architectural element. Interior surface design is expressed with several unique methods such as optical illusion, surface exposure and spacial depth and volume, and it created dynamic space within the surface itself. In case of exterior surface, whole space seems to be designed to be coordinated with structured optical illusion as well as symbolic expression. Surface's area is extends itself with the stream of the times. This study explored the nature of surfaces with categorizing and comparing them in a various views and methods.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.3-10
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• 2005

The purpose of this study is to find the relationship between hightech architecture and digital one through the discussion on Karl B tticher's view on tectonic in 19th century. The discussion of tectonics which has not been brought up until recently. Since there are no studies regarding contemporary architecture relating to Karl B tticher's view on tectonic, so it is fairly significant to study Karl B tticher's conception, discussion and relationship of contemporary architecture. To study the essence and meaning of Karl B tticher's view on tectonic in 19th century, we will analyze each examples of hightech architecture and digital architecture through Karl B tticher's dual form. B tticher insist that dualistic relationship is united and produced simultaneously. Because they have so closed relationship each other, it's impossible to apply only decoration without structure. Therefore they have mutual assistant relationship. A relationship can be found between hightech architecture's technology and structural symbol that Karl B tticher tried to find in steel which is new material ornament. Digital architecture can be confirmed as images which are made of maximum expose through consistent dynamics of structure. Karl Btticher try to find structural symbolism between new meterail, iron, and decoration. In modern architecture it has the closed relationship with high-tech technology.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.170-177
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• 2023

In quantum mechanics, uncertainty refers to the uncertainty of a measurement physical quantity, because some mechanical quantity can only be in its eigenstate under certain conditions, and the values shown are discrete.The exact value can only be obtained by measuring it in the eigenstate of this mechanical quantity.Uncertainty is like a double-edged sword, which has both advantages and disadvantages in art itself and in the process of artistic creation. In this study, it is divided into three main parts. First, the existence of uncertainties in contemporary art is sorted out in two broad parts, the definition of the uncertainties in art and the specific expression in contemporary art, respectively, with examples from four aspects of psychological impact, accidental presentation effect, expression form and connection with the viewer. The purpose is to understand how uncertainties are expressed in the process of artistic creation. Second, the role of the uncertainties in artistic creation is analyzed through examples, and then it is proposed that artists should use uncertainties to serve art with a scientific and rational attitude. Thirdly, the application of uncertainties in my creative practice and their influences on my painting creation. In summary, every artistic creator should take art seriously and sincerely. The relationship among the creative subject, society and life is an eternal and continuous interaction, and art is a carrier of reflection. For the problems brought by uncertainties in artistic creation, from choosing new certainty by thinking to the emergence of uncertainties, such a cycle is the process of art sublimating from life and being closely related to life.

• Journal of Contemporary Eastern Asia
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• v.1 no.2
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• pp.9-28
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• 2002

• Journal of Contemporary Eastern Asia
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• v.2 no.1
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• pp.1-6
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• 2003

• Journal of Contemporary Eastern Asia
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• v.2 no.1
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• pp.7-11
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• 2003

• Journal of Contemporary Eastern Asia
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• v.3 no.1
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• pp.1-9
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• 2004

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.84-103
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• 1998

The purpose of this study si focused on Futurism style and contemporary fashion in the 20th century, by researching the Giacomo Balla, Fortunato Depero, Tullio Crali, Erenesto Thayate characteristics fashion design. The results of this study are following as : The general traits of Futurism style are classified with aesthetics, formative characteristics. First, aesthetic characteristics are based on H. Bergson's life-phylosophy and F. Nietzche's art theory. Second, formative characteristics is Dynamism. Futurism Dynamism are classified with psychological Dynamism and physical Dynamism. Futurism trends in the costume : first, dynamism in fashion design, second, asymmetrical balance, third, formativeness, forth, technology, fifth, anti-traditionalism. Dynamism are expressed textile, pattern and costuem shape in contemporary dress. Asymmetrical balance are expressed costume silhouette shape and framework through the geometrical asymmetrical balance. Formativeness are agree with Paco Rabanne's fashion design expressed body and movement and phychological world of human through the secondly fabric. Technology are expressed new mechanical dynamism in used technology art and new fashion material by metal. The last, anti-traditionalism is recognized new value and idea in fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.741-752
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• 2008

The purposes of this study are to review the status of dress material in the contemporary fashion design by examining the intertextuality of many materials other than textiles used in the contemporary fashion and to show that the development of new fashion materials is a factor for designing competitiveness. The results of this study are summarized as follows: First, foods and natural objects are used as fashion materials to reveal natural beauty, and at the same time new formative elements are expressed in combinations of life and fashion. Second, common paper and luxurious jewelry are presented as a formative element symbolic of an aspect of the contemporary society or embodied in elaborate handicraft techniques. Those materials boost the luxuriousness of costume and create a strong futuristic image according to how they are expressed. Third, plastics available for a variety of objects in different shapes and colors offer such formative features that could be shaped with textiles, as high-end technology is introduced to fashion. Fourth, metallic materials have added freedom to design formality due to their qualities of convergence and displacement and by the introduction of brand-new technology, suggesting a new future for the fashion industry. Fifth, using a variety of anti-fashion materials including semiconductor chips, mirrors, vinyl, wires, and rubber makes a change in the existing points of view regarding the formality of things and helps create a special aesthetic effect in a visual respect to develop a strong intertextuality of materials.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.3-11
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• 2012

The first visual contact in architecture happens in surface, and it could be significant object as well as the starting point to recognize the essence and perceive the buildings. Architecture surface could not get out of the restriction of structures and materials that support buildings for a long time in the past. Architecture surface in the past should fulfill the structural role to form are appearance of buildings and support buildings at the same time, so it was difficult to get out of logic for material and thickness of walls, arrangements and sizes of windows. However, since the modern age, architecture surface came to be freer according to the development of building technology, and development of technology changes shows tendencies to express role of new design factor as an architectural element emphasized expression and autonomy,s which was escaped from the subordinate relationship that the surface of building must do the structural function. In this study, it would be examined the expressive characteristics of various epidermis that are expressed in architecture of Herzog & de Meuron since the end of 20thcentury focused on comprehended and analyzed results of changes and characteristics of contemporary society. Through this, it would be comprehended the epidermis of architecture that has particular character expressed in modern buildings of Herzog & de Meuron, and it would be composed a certain linkage between this and characteristics of contemporary society and it would be investigated that the establishing process of inner spaces. Identification through case analysis for this would perform a role of catalyst for the new possibility and development of contemporary architecture's surface expression in the future.