• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.63-71
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• 2005

The dome structure has been treated in two layers among the techniques that have formed the space in Baroque architecture and the light used to be manipulated to create the openness of space and the fantasy of atmosphere. Such an expression technique has influenced on the expression of space in the architecture of New York Five in the 1960s to 1970s and the concept of multiple space embellished with various layers has appeared in the architectural concept of New York Five; meanwhile, the common meaning with the technique of double layers and the ways of phenomenal expressions that have recognized the existence of space in the Baroque period has been achieved through the light, immaterial organism. It means that the existing concept of light limited simply to the plane elements of brightness and darkness has been treated as a formative element that has defined and adjusted the visual expansion and reduction of the space Itself and special existence and has been used as an element of the media of spatial structure. In addition, these elements have been treated as another solution for the emotional aspects of space. Therefore, this study compares the plastic and formative meaning of the Baroque architecture with that of New York Five in terms of the relation between space and light and examines them; in doing so, it will give a clue to understand various and new space expression techniques to many architects and space designers who have led modern architecture.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.242-251
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• 2012

Geomancy accepts with a pre-requisite that human beings adapt themselves to nature as an organism, because people and environment, bodies and space have the homogeneity which can not be divided by a dichotomy. The homogeneity as a structure alive implies a deep relationship with biorhythm and the change of space, and is regarded as a concept and role significant on the coordination. In other words, applying the element in the geomancy could be interpreted as a work giving a new meaning and spirit on a creation of space and furniture coordination. Harmony and balance shown in design concepts have a relationship with the meaning on Yin-Yang and the Five Elements theory. In addition, the characteristic in each element is suggested as an example applying the concept of geomancy through furniture coordination for each space in the chapter 4.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.3
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• pp.16-26
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• 1991

The traditional housing of Cheju Island has been steadily researched, but from the point of an environmental view which has been neglectly treated all the while, the formative process of the housing and its relationship to the structure of a village are studied, so the writer summarized the relation to the housing type. To study the peculiarity of the physical space, a type of a way, and element of the spatial structure, by stage and a type of the arrangement of the residential space are researched and analyzed, and to understand the plane peculiarity, the distribution of the plane type has been studied. In consequence, the housing and the structure and the form of the village have an organic relation each other and have been made under a very diverse and mixed background, we can find. Especially, the element of the natural environment acts as an important element which decides the type of life and the residential type. The arrangement of buildings is gradually free from the traditional type, but a traditional type of "Three-Room House" is kept well in spite of a change of the plane type.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.511-522
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• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• Korean Institute of Interior Design Journal
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• v.13 no.2
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• pp.29-37
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• 2004

This study analyze the architectural space in the aspect of the 'Raumplan' and 'Plan Libre'. These concepts based on the 'Raumplan versus Plan Libre' exhibition in Delft University, Netherlands. It is generally agreed that the concept of 'Plan Libre' in connection with Le Corbusie architecture and 'Raumplan' related to Adolf Loos's works. that exhibition contents was focused an extent of modem architecture. But, These concepts continually influence contemporary architecture and offer diverse vision in architecture. Therefore, this study focused on the analysis that look for common element in the space through the case study and space element connection in change of the values, technical growth. This Paper reveals that Adolf Loos's Raumplan is similar to Louis I. Kahn's 'Room' concept and Ando Tadao's centrifugal space composition method In the dwelling architecture. And the concept 'Plan Libre': non-definitive formal system and the elements : column, free form screening wall is revived as formal application of 3 dimension composition in architecture. and transfer lots, void, and linear space in Rem Koolhaas's urban design projects. These aspects is so called topology. This topological concept is an attempt in view of the space connection state rather than formative viewpoint.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.544-561
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• 2020

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the "Maaseik fragments" in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.250-258
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• 2007

Typography is the combination of language of formative art. It is indeed the core means of human communication through understanding of language and formative values. Studies began on introduction of various techniques to overcome the phenomenon of the 'reaction of language', which appears as an impediment in delivery and sharing of information as the most fundamental roles. Successively, mobile printing types more readable and effective in delivering of meanings have been developed, thus widely distributed for general use. However, although such printing types might be easily used in image and digital media, such as in computer monitors, screens and mobile phone LCDs, etc., it is in fact difficult to use these printing types in printed surfaces, the traditional medium of information delivery, or in sign systems frequently encountered in our surrounding environment. As a solution for this, it is intended to create an effect of communication closer to dynamic typography expression by approaching visual message delivery system from the essence and substance of the color application, which corresponds to the visual spatial expression effect, the core element of expression in dynamic typography to possess significantly more powerful effect in terms of both message delivery capacity and readability than the conventional means of static typography.