• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• Architectural research
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• v.18 no.2
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• pp.49-58
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• 2016

This paper examines the Dutch policy for architecture and spatial design within the framework of the theory of creative industries. Creative industries are a young concept that emerged in the mid 1980's as a form of commercial cultural production associated with consumerism. The definition of the cultural industry is rather ambiguous in terms of its scope and its relation to the traditional field of art and cultural heritage. The paper describes the theory of the creative industry and relates the Dutch policy for architecture and spatial design to the creative industries theory. The sector of architecture and spatial design in the Netherlands has since the early 1990's been systematically supported by a national policy. Within this period a sophisticated infrastructure of institutions and funding incentives has created a successful and active culture of architecture, spatial design, architectural curating, architecture criticism, education, talent development, and research. Critical success factors for the Dutch policy are the separation of the cultural policy for architecture and spatial design from the art and cultural heritage sector, the 'depth' of the Dutch policy extending into fields not directly related to architecture and spatial design as well as the pro active role of the public sector assigning a central role to the architect and involving him in the beginning of the process.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2001.05a
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• pp.64-68
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• 2001

As Dutch structuralism discovered a possibility that can improve the problem of modem architecture through study on non-western area. Dutch structuralism had tremendous impact on Philosophy, psychology, art history and the style of a dress and many other cultural trend. In architecture, Aldo van Eyck embodied that theory and succeeded to Herman Hertzberger and Piet Blom. As result Structuralism related with architecture has dealt with the participation and domain of residents, namely public domain and private domain, the approach property of public space, middle domain which shows the harmony between public domain and private one, and the structuralism discovered that each element of public space and private space has been developed as an architectural type that makes a group by repetitive arrangement and it found out a possibility that can make up problems overlooked in modem architecture through development and change.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.23-33
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• 2014

This is a study on the application of a dialectic way of thinking in terms of design methods, and has contents about the formation of new visual and the ways of process that are triggered by cognitive introspection. A ccordingly, the study has its purposes in interpretation and recommendation of new methodological systems around dialectic principles and ways of thinking on the works of the Dutch Architecture Exhibition carried out in Korea in 2013, with the theme of "Reuse" among the aspects expanding since the reflexive modernization. Firstly, the basic features of Dutch designs were connected to dialectic ways of thinking. After studying the basic concepts of dialectics from Greek philosophies to Kant, Hegel, Marx and Benjamin, the aspects of applying them onto creative works such as art, architecture and design were methodologically systematized. Through this process, it was confirmed that the existing concepts are newly rearranged rationally, logically and scientifically based on dialectic ways of thinking rather than subjectively or emotionally. From the study of the 12 art works, it was confirmed that the value of use and potential obstacles have been used as a design solution. Also, the process which is juxtaposed with the result by itself has been expressed and causes the alienation effect. Therefore, such dialectic ways of thinking was organized into a procedural flow of contradictory recognition on situations, drive due to negativity, mutual penetration, mutual transformation, abstraction, verbalizing and creation of new concepts, and it was confirmed that such finding was valid in securing creative possibilities as 'New Uses' rather than 'Re-uses'.

• Korean Institute of Interior Design Journal
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• no.9
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• pp.49-56
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• 1996

This study is to present the design methods in the Schrider House executed by the Dutch architect G. Th, Rieveld. The plastic principles which underlies the architecture design are examined through the analysis of the 'new structural joint system (Cartesian Coordinate System) ' and ' Color-Plasticity ' which characterized a series of his furniture design from 1918 to 1924. It indicates that Reitveld attempted to realize the simplicity, clarity and flexibility of spatial expression in his first independent architecture by the application of technical skills which have been developed in his early days.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.33-51
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• 2021

This thesis analyzes the formal characteristics of Dutch flower still life from the 17th century to the early 18th century and looks into the relevance with the Dutch art market from a macro perspective. The 17th Flower Still Life is to represent social hierarchy in that as the imported exotic, recherch items, the flowers were classified in the terms of their rarity and expensiveness. For this intriguing research, the subject is circumscribed to a vase of flowers, which is the quintessence of In the form of various Dutch Flower Still Life. Dutch society in the early 17th century was centered on the civilian class engaged in trade and commerce, which allowed them to purchase art works to show off their wealth, economic benefits and satisfaction of aesthetic tastes. Among them, the popularity of flower still life was related to the concentrated demand for rare flowers from the new continent. Accordingly, exact depiction and sense of the three dimensional manner were highly regarded in the early flower still life. For the tastes of the wealthy citizens who succeeded in business, the identity of flowers and the actual screen were considered as important. However, after the mid 17th century, economic growth in the Netherlands put an end, and the art market was also on a downward path. The demand class of flower still life has gotten farther away from the spirit of businessmen and has changed into city aristocrats who were stable rentiers. Their tastes laid emphasis on subjective sensibility, which meant that aristocratic, asymmetric, and dramatic chiaroscuro were preferred rather than being realistic. Furthermore, in the 18th century illusionistic realism was abandoned as an expression method of the planar characteristics and a new era in the floral still life was ushered with the reinforcement of decorative effect. From this perspective, it is not an exaggeration to say that romanticism, which is thought of as the beginning of Contemporary Art, originated from the aesthetic taste of Dutch civic culture.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.112-119
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• 2005

This study attempts to suggest new directions of urban multi-family housing design in the recent era of information, in which the representation of publicity and privacy of the housing reflects new meanings and relationships of the current digital society. The study examines cases of Dutch multi-family housing and investigates the meanings and relationships of publicity and privacy in the building as well as unit design of the housings. Borneo-Sporenburg housing development is a good example that suggests new interpretation and design solution for low-rise, high-density multi-family housing. Thus, this study analyzes street patterns, facade design, and ways of housing unit combination in Borneo-Sporenburg housing and concludes as follows. First, public space in Borneo-Sporenburg housing, which was designed differently from hierarchical and centripetal organization of modern architecture, is divided into small units and spread into the inside, which provides high potential for personal control of space and personal programming of space by space choices. Second, street pattern and facade design of Borneo-Sporenburg housing provide visual publicity and privacy simultaneously as they maintain unity as a whole as well as articulate individual unit in many different ways and provide clues to neighboring. Streets as a public domain have self-controlled boundaries for residents and introduce voluntary use-programs for residents. Third, facades of the housing have no inter-mediate space or common space, and confront streets directly. Space in-between is composed inside the facade and extends into the streets by residents' own choices. Fourth, privacy and individuality of the housing is strengthened. Units of the housing have individual entrances, unique plan type and complicated combination of space that all together emphasize individuality of units, however they are not often notified from the outside.

• International Journal of Aeronautical and Space Sciences
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• v.13 no.4
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• pp.468-473
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• 2012

Cost is an important aspect in designing a target drone, however the poor performance of low cost IMU, GPS, and microcontrollers prevents the use of complex algorithms, such as ARS, or INS/GPS to estimate attitude angles. We propose an autopilot which uses rate gyro and GPS only for a target drone to follow a prescribed path for anti-aircraft training. The autopilot consists of an altitude hold, roll hold, and path following controller. The altitude hold controller uses vertical speed output from a GPS to improve phugoid damping. The roll hold controller feeds back yaw rate after filtering the dutch roll oscillation to estimate the roll angle. The path following controller operates as an outer loop of the altitude and roll hold controllers. A 6-DOF simulation showed that the proposed autopilot guides the target drone to follow a prescribed path well from the view point of anti-aircraft gun training.

• Asian-Australasian Journal of Animal Sciences
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• v.28 no.11
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• pp.1614-1623
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• 2015

The objectives of the current experiment were to study the response of the growth performance of early finishing gilts to different net energy (NE) concentrations in diets, and to compare the NE values of diets between calculated NE values and measured NE values using French and Dutch CVB (Centraal Veevoederbureau; Central Bureau for Livestock Feeding) NE systems. In a metabolism trail, the NE concentrations in five diets used for the growth trial were determined based on digestible nutrient concentrations, digestible energy, and metabolizable energy using a replicated $5{\times}5$ Latin square design with 10 barrows (initial body weight [BW], $39.2{\pm}2.2kg$). In a growth trial, a total of 60 early finishing gilts (Landrace${\times}$Yorkshire; initial BW, $47.7{\pm}3.5kg$) were allotted to five dietary treatments of 8.0, 9.0, 10.0, 11.0, and 12.0 MJ NE/kg (calculated, as-is basis) with 12 replicate pens and one pig per pen in a 42-d feeding experiment. The NE and amino acid (AA) concentrations in all diets were calculated based on the values from NRC (2012). Ratios between standardized ileal digestible AA and NE concentrations in all diets were closely maintained. Pigs were allowed ad libitum access to feed and water. Results indicated that calculated NE concentrations in diets (i.e., five dietary treatments) were close to measured NE concentrations using French NE system in diets. The final BW was increased (linear and quadratic, p<0.05) with increasing NE concentrations in diets. Furthermore, average daily gain (ADG) was increased (linear and quadratic, p<0.01) with increasing NE concentrations in diets. There was a quadratic relationship (p<0.01) between average daily feed intake and NE concentrations in diets. Feed efficiency (G:F) was also increased (linear, p<0.01) as NE concentrations in diets were increased. The NE intake per BW gain (kcal NE/kg of BWG) was increased (linear, p<0.01) with increasing NE concentrations in diets that were predicted from both French and Dutch CVB NE systems. Linear regression indicated that predictability of daily NE intake from the BW of pigs was very low for both French ($R^2$, 0.366) and Dutch CVB ($R^2$, 0.374) NE systems. In conclusion, increasing NE concentrations in diets increase BW, ADG, G:F, and NE intake per BW gain of early finishing gilts. The BW of early finishing gilts is not a good sole variable for the prediction of daily NE intake.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.22-29
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• 2008

Johannes Vermeer is one of the masters in the 17th century Dutch Genre Painting. Genre Painting represented the mundane everyday life and humble domestic spaces of the time. It was so unique in the history of western art. Most common subjects of the medieval art had been myths, historical heroes, and the christianity up to that time. However, Dutch Genre Painting that was originated from the 16th century Flandre art has fundamentally changed perception of art. Genre Painting was related to the prosperous development of civil society and early capitalism in the Netherlands of the time. In the paintings of Vermeer, there are unique spatial characteristics. This study aims to 'spatially' analyze the representation of everyday space perceived by the painter himself. Three analytical elements were chosen: light, space, and geometry. These elements have crucial roles to construct a space together within which Vermeer tried to express his discoveries as well as perception of the world. Four paintings were selected to be further analyzed in detail: $\ulcorner$A Maid Asleep$\lrcorner$ (1656-57), $\ulcorner$The Little Street$\lrcorner$ (1658-60), $\ulcorner$The Music Lesson$\lrcorner$ (1662-1665), and $\ulcorner$Young Woman with a Water Pitcher$\lrcorner$ (1662). It has been found that there are distinct spatial aspects in his paintings: Structure of Frontal Layers, Diffusion of Light, and Subtle Geometrical Tension. It is hoped that this sort of interdisciplinary research could enrich the related studies in the field of architecture & interior design, and could help to rediscover the everyday world that we live in here and now.