• 타이어
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• 통권27호
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• pp.15-19
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• 1970

• 건축사
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• 통권499호
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• pp.46-59
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• 2010

• 건축사
• /
• 통권609호
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• pp.118-119
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• 2020

• 건축사
• /
• 통권639호
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• pp.56-61
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• 2022

• 건축사
• /
• 통권642호
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• pp.128-129
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• 2022

• 건축사
• /
• 통권659호
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• pp.78-85
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• 2024

• 한국실내디자인학회논문집
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• 제23권4호
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• pp.3-11
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• 2014

The purpose of this study is to understand Archigram's architectural works by analysing Archigram, which was a little magazine issued from 1961 to 1974. Studies on the Archirgam's architectural works have been mostly focused on their projects themselves, not within the context of the medium, Archigram (little magazine). However, Archigram as a little magazine worked as a platforms where ideas and projects could be developed and communicated among the members. Therefore, this study focused on the distinct features of Archigram's architectural works which were influenced by its little magazine, Archigram. The major conclusion of this study is that Archigram's architectural works worked as media themselves; Archigram's architectural works are open-end conclusions which can be transformed and developed by other members; Archigram members created new temporality, creating 'up-to-the-minute' architecture.

• 한국기계연구소 소보
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• 통권14호
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• pp.111-119
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• 1985

A review on the design analysis of an axial-flow turbine is presented. Followed by a brief introduction to the fundamentals on an axial-flow turbine, a design procedure is described with a sample design of one for a small turbo-jet engine. Design procedure is composed of two parts: one-dimensional analysis of three-dimensional effects based on radial equilibrium theory. The method described herein is so simple and rapid that it can be applied to the preliminary design analysis of turbo-machinery equipped with axial-flow turbines.

• 레미콘
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• 7호통권72호
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• pp.29-41
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• 2002

The purpose of this study is to investigarte the mix design method and the mechanical properties of High stength Lightweight Concrete (HSLC). In the experment, concrete mixing was conducted to select the optimum mix design for HSLC in laboratory. Also, concrete mixing in ready mix design. As a result, it is possible to establish the mix design of HSLC according to the using these experimental results ;the estimate equation for unit weight of HSLC. the relationship between W/C and compressive strength of HSLC and the fluidity of HSLC in the view of workability

• 디자인학연구
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• 제21권
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• pp.109-121
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• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.