• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.59-68
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• 2020

The purpose of this study was to measure and observe Memes of people in Korean modern architectural discourse. After extracting Memes from the text of 'SPACE' magazines, network analysis was used with the Memes which were obtained. The results of this study were as follows; 1. Korean modern architectural discourse field was influenced by people in order of American, French and Korean. 2. Korean modern architectural discourse field was influenced by people in order of Le Corbuiser, Mies Van der Rohe, Louis Kahn, Kim Soogeun and Gilles Deleuze.

• Nuclear Engineering and Technology
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• v.53 no.4
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• pp.1250-1258
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• 2021

In this paper, the mechanical performance of cracked surface-coated Zircaloy cladding, which has different coating materials, coating thicknesses and initial crack lengths, has been investigated. By analyzing the stress field near the crack tip, the safety zone range of initial crack length has been decided. In order to determine whether the crack can propagate along the radial (r) or axial (z) directions, the energy release rate has been calculated. By comparing the energy release rate with fracture toughness of materials, we can divide the initial crack lengths into three zones: safety zone, discussion zone and danger zone. The results show that Cr is suitable coating material for the cladding with a thin coating while Fe-Cr-Al have a better fracture mechanical performance in the cladding with thick coating. The Si-coated and SiC-coated claddings are suitable for reactors with low power fuel elements. Conclusions in this paper can provide reference and guidance for the cladding design of nuclear fuel elements.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.3-14
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• 2008

The purpose of this study is to clarify the historical circumstances under which the Korean Pavilion was established at the 1900 Paris Exposition Universelle, and the construction process and design features of the pavilion building. At that time, even though Korea faced difficulty due to lack of experience in the world exposition and funds, Korea attempted to positively participate in the international cultural event by establishing the Korean Pavilion under an official contract with assistance of the French Government. Moreover, the Pavilion shows significant architectural features which had not been shown until then in terms of the structure and design of the pavilion building. In this connection, in this thesis, among others, the historical circumstances under which the "Korean Pavilion" was established at the 1900 Paris Exposition Universelle, and the construction process as well as the process and features of the draft design prepared at an early stage by Baron Delort de Gleon on the part of France among the above parties to the project for construction of the Korean Pavilion, which have never been addressed in the field of architecture or interior due to lack of existing data, will be clearly studied based on relevant literatures. According to analysis of the study, it reveals that the representation method for the Korean tradition of Korean Pavilion designed by Baron Delort de Gleon was based on the Chinoiserie, the style widely seen in Europe. In addition, Delort de Glean's commerce-oriented concept is integrated into the design of the Korean Pavilion as well.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Steel and Composite Structures
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• v.34 no.3
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• pp.441-452
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• 2020

Within the French CIFRE research project COMINO, an innovative type of composite beam was developed for buildings that need fire resistance with no additional supports in construction stage. The developed solution is composed of a steel U-shaped beam acting as a formwork in construction stage for a reinforced concrete part that provides the fire resistance. In the exploitation stage, the steel and the reinforced concrete are acting together as a composite beam. This paper presents the investigation made on the load bearing capacity of this new developed steel-concrete composite section. A full-scale test has been carried out at the Laboratory of Structural Engineering of the University of Luxembourg. The paper presents the configuration of the specimen, the fabrication process and the obtained test results. The beam behaved compositely and exhibited high ductility and bending resistance. The shear connection in the tension zone was effective. The beam failed by a separation between the slab and the beam at high deformations, excessive shear forces conducted to a failure of the stirrups in this zone. The test results are then compared with good agreement to analytical methods of design based on EN 1994 and design guidelines are given.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.47-55
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• 2016

This article explores an extended sense of autonomy in contemporary architecture activated through the practice of fashion, by taking architect Rem Koolhaas' work Prada Epicenter in New York as a case. In doing so, it argues that throughout the work Koolhaas sets up a world in which the corporate and the individual are entangled together in complex ways. Instead of considering Prada Epicenter to be the exemplar illustrating that the global company-Prada-institutionalizes the designed commercial space in a top-down manner, this article claims that such a space imbricates a multiplicity of meaning that is generated at the intersections of the local and the global, the ordinary and the spectacular, and the individual and the institutional. In this respect French philosopher Gilles Lipovetsky's fashion theory works as a critical point: his claim that the ambivalence of fashion-both as corporate power and individual freedom-is a threshold encouraging us to better understand the operativity of late capitalism in daily life is extended to Koolhaas' case. In other words, Koolhaas' Prada Epicenter brings forth possibilities that the ostensibly technocratic and institutionalized space in fact works as a resillient field where senses of individual autonomy arise in the aid of corporative practice of branding.

• The Research Journal of the Costume Culture
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• v.13 no.3 s.56
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• pp.391-405
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• 2005

This study puts emphasis on showing the change of Stripe Pattern, which has been popular for a long period of time in many societies, with change in time, assessing its value as an art. During medieval period, Strife Pattern had a strong negative meaning as a sign of disgrace or inferiority, or had been used as discrimination against a mental or a sinner, who had been rejected or banished from the society. Through French Revolution, Stripe Pattern has become a symbol of liberty and equality, furthermore, the notion of society as well as countries. This event had positively affected on reevaluating its image, from inferior, negative to significant, artistic. Eventually the variety of aesthetic values of Stripe Pattern led its way to the variation of its functional value expanding its use other than fashion industry. It is anticipated that our fashion industry will flourish in creating new, creative design by understanding design and appreciating their aesthetic values with their applications to human sensibility.

• Korean Journal of Human Ecology
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• v.19 no.5
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• pp.873-882
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• 2010

Knitwear has become a part of fashion since aristocratic trend-setters of Medieval Spain and France began wearing luxurious silk stockings. However, in more recent times knitwear emerged as a fashion item in the early 20th century when jersey two-piece Channel dresses became popular amongst the French upper classes. Knitwear then evolved into genuine going out clothes through Sonia Rykiel in the 1970s. Sonia Rykiel has made a great contribution to developing knitwear, which she transformed from being used only in informal dresses or clothes for home wear, to a boarder in use in high-quality dresses such as those worn at parties. Unlike most designers who tend to make very different styles each year, she has restricted her clothes to those made with knitwear. The study examined the designs and formative characteristics of her knitwear in order to clarify why Sonia Rykiel's knitwear fashion is apparently so timeless. Results showed that her garments consistently used black oriented color combination, strife patterns, intarsia techniques and application of diversified subordinate materials and other materials that overcome earlier limitations of knitwear. In addition, her designs consistently express the typically Parisian sophisticated urban femininity through practicality, sensuality and playfulness. Overall, her fashion has shown that it exists for women in action through practical design within the scope of demode, the philosophy in her early days, and it has led her to hold great power over knitwear fashion for the past 40 years.

• Archives of design research
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• v.17 no.4
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• pp.89-96
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• 2004

The public has only a superficial understanding of the computer games, in spite of it's psychological effects and social results. Therefore, in this study, one finds out the serious approach which leads the computer games to recognize its future in terms of new media. Stand-point from Freud to french post-structuralist, it helps the introduction to understand the computer games as a kind of contents in which we are able to observe psychological process. As a result, there are studies about the structure of the dream, the desire, and the language which allow to mention 'parmakon' ; 'difference' between self and object, it provokes the psychological dynamism and so on, the playing the game remains a real trace and change, at the level not only of our psyche but also of our body.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.99-109
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• 2007

In the 19th century, a series of study by Hittorff, Semper, Ruskin, and others on architectural polychromy in various perspectives appeared. This presumed that the architectural polychromy could become an essential part of architectural composition and contribute to create new architectural style, if not, at least new architectural and cultural context of the 19th century, the period when it is considered that the stylistic evolution in architecture is absent. In the course of the stylistic development of church architecture of the 19th century in France, the architectural polychromy, grounded in a theory of representation, played a critical role as one of the main sources to create new architectural vision. The church architecture during the Second Empire in France was particularly susceptible to be influenced by this inevitable phenomenon, which signified an epistemological mutation in architectural perception beyond optical and perspective effect in the history of architecture. Here the study attempts to recognize the aesthetic value of the architectural polychromy in the 19th century, and investigate its application, as not just an aspect of architectural embellishment but an indispensable portion of architectural vocabulary, on the church architecture in France throughout the 19th century, then to define its role in creating new architectural environment.