• Proceeding of Spring/Autumn Annual Conference of KHA
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• 1992.11a
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• pp.33-44
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• 1992

There are various which organize architectural forms. The concept of Collage is one of the ways to understand various situation in the Contemporary Architecture and the needed to be underrtood to solve problems in architecture, painting, sculpture etc. Formal characteristic of collage aesthetics proposed by the Cubism appeared to a creative element for a new form in the trends of architecture. Results of this study are as follows. In the Housing Architecture, the Collage is transposed to the subjective form than the general form, and is used as a method to solve problems such as a perception in interior and exterior spaces and urban contexts.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.

• Fashion & Textile Research Journal
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• v.10 no.3
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• pp.342-352
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• 2008

Picasso and Chanel were the most famous artists of modern art & fashion area in 20th century. It is well known that they have deeply influenced to the current fashion and art. This study is aimed to analyze Channel's works based on the aspects of Picasso's from 1900's to 1930's. There are five common, distinct and formative aspects - flatness, geometry, transparency based on multi-perspective, volume, variety of objects. Their works are based on the simplicity which is expressed by the analyzation, organization, deconstruction influenced by cubism. It is reconfirmed that they gave the general public the new value-functionality-by using the ready-made materials. Nowadays artists model themselves after Picasso and Chanel who made attempt to conversion of ideas, the steady style, the long view, the interchange of other fields and popularization.

• Journal of architectural history
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• v.12 no.3
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• pp.117-130
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• 2003

Transparency orginated from a visual character of the object recognized to the backside without any obstacle is used as a word explaining the variety of an architectural character from the pre-mordern architecture. Transparency is expressed clearly without using of the material with a permeability like glass in the Korean traditional architecture. Thus the purpose of this study is to analyze an expression of the perceptive transparency focusing on the Dodong Seowon with the phenomenal transparency. In chapter one, the background, purpose and method of study are explained. In chapter two, general concept of transparency is inquired. In the process of searching for the formation of basic background, the characteristic of phenomenal transparency is recognized. In chapter three, the aspect of phenomenal tranparency expression in Korean traditional architecture is inquired. In chapter four, with the characteristics drawn from chapter three, the characteristics of Dodong-Seowon under its phenomenal tranparency are shown. In chapter five, synthetic conclusion is presented.

• Journal of the Korean Society of Costume
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• v.39
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.82-91
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• 2008

After modernism, artistic movements such as Cubism, Futurism, De stijl and Bauhaus demonstrated a connection to architecture and other plastic arts and developed a tendency towards a synthetic art. Above all, the unification of painting and architecture is the most noticeable point; a blueprint and a multi-coloring space that are applied on 3-dimensions painting brought new dimensions into relief. Following this artistic trend, it is easy to point out that Le Corbusier's works; which were created under the name of Charles Edouard Jeanneret, show the pictorial peculiarity in the Space Design. Even if white space that he has designed under the slogan such as standardization and mechanization, the variety and metamorphism that he has tried to express on his work have widely been recognized. Especially, his late architectural works were produced as the figurative arts expressing the ambiguity of painting and hence led a step towards a synthetic art. The study analyses Le Corbusier's 2-dimensional Painting as well as his 3-dimensional Space Design. Furthermore, it aims at embarking on the unification of painting and architecture in terms of Le Corbusier's synthetic design philosophy.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.170-177
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• 2008

If we consider the cubism, which newly attempted the avant-garde movement in the mid-19th century, was an experimental movement to feel the space through the human action and observation from various viewpoints at the fixed three-dimensional world, then the futurism was an innovative movement that obtained an ion from continual motions. However, the study about meaning and emotion that correspond with the dis-structuralization era could not have been continuing. Therefore, the goal of this study is to construct an emotional theory and grope a possibility of the way to do through some theoretical investigations and experimental analysis about body movement and emotional expression. For the study method, experiment and analysis have been proceeded based on Miyauji study(1992) which was based on P. Thiel theory that is about direct recognition and empirical study for identical existence or experimentation. As a result of the study, it reached several conclusions. The first, body movement as an emotion that makes meaning is related to the space. The second is that the space is related to the background as an object of body. The last is that body as a creature which becomes the one with spirit in the space makes meaning. We look forward to a possibility of emotional study through the body movement.

• The Research Journal of the Costume Culture
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• v.18 no.3
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• pp.550-558
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• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• Journal of the Korean Home Economics Association
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• v.28 no.2
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• pp.1-14
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• 1990

The purpose of this paper was to examine the relationship between Surrealism and Schiaparelli's fashion design in the 1930s. Surrealism, derived from Dadaism, was based on Freud's analysis of dream imagery and human sexual behavior. Its style was characterized by the partial figure and the dislocation of body part, and the placement of the figure and its part in unanticipated settings. The objective of Surrealism was to exploit the unconsciousness and the interpretation of the body became an abiding. Surrealists were interested in the nature of clothing and in the specific characteristic of fashion, so, they moved into the world of fashion; fashion advertising window display and fashion photograph. The fantasy of Surrealism stimulated Schiaparelli to use wit and shock tactics, bold and unusual combination of colors, striking embroideries with crazy themes like circus and astrology. The character of her clothes was boldness and chic. She created humorous trompe-l'oel sweater, leg of mutton sleeve, tweed evening suit, shocking pink, peculiar accessories such as hats and buttons. She collaborated with many artists like Dali, Cocteau and Berard, and drew on all the latest artistic trends into the fashion arena from Cubism and African Art to Surrealism. Her Surrelist dress provided a play of illusions and affected today;s avant-grade style.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.