• 한국농촌건축학회논문집
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• 제26권1호
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• pp.33-40
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• 2024

In France, the popularization of social rental housing development for regional balanced growth has encountered difficulties due to the increasing costs of housing development in the regions. As a new solution, since 2010, efforts have been made to promote participatory housing in the regions. As of 2023, Strasbourg has 284 households participating in the participatory housing projects. The Strasbourg area has many abandoned houses, and the land is owned by local governments. The local authorities are providing such lands for participatory housing and have established the "Eco-quartier" support association to efficiently support the project and assist in resident-led participatory housing development. This study analyzes the development characteristics of 26 completed participatory housing projects in the Strasbourg area and examines the initial development stages of the representative case, the "Ecologis" project. The success factors of the "Ecologis" project were the active administrative support of the local government, promotion for member recruitment, and the role of "Eco-quartier" in providing expert support teams. In the initial development stage, it identifies the distinctions from a similar concept in Korea, "community housing," and presents implications for the revitalization of participatory housing.

• 한국가구학회지
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• 제10권2호
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• pp.37-53
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• 1999

On the turning paradigm in the early part of the 20th century, the change of behavior patterns naturally had influence on arts based it. Also the furniture designs was formed new style by interaction between paintings and sculptures and architectures. In this study, it was focused on Art-Deco movement that was started in 1920's France and was widely developed. Besides it was found out principles and characters of this style, and was made analysis and sense of the characteristic about formative language of Art-Deco on the relation with contemporary fine art and architecture. As the result, the origin of Art-Deco is characterized by three categories : abstraction, mystery and symbolism. The Art-Deco furniture design symbolized by the desire to pursue both splendor and elegance is French style pragmatism in progress toward Modern design.

• 한국실내디자인학회논문집
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• 제20권5호
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• 한국실내디자인학회논문집
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• 제25권1호
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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.

• 한국디지털건축인테리어학회논문집
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• 제9권3호
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• pp.5-13
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• 2009

This study examined public building remodeling projects in France. Through investigating cases of ancient buildings remodeled in France, the study aimed to provide fundamental data and analysis for remodeling public buildings. Accordingly, seven cases were analyzed in terms of remodeling methods, architectural characteristics, methods of conservation, and restoration of ancient historical buildings, as well as a change of usage of an existing building. As a result, this study found the criteria of French ancient building remodeling. The remodeling methods of an existing building vary in their goals and strategies depending on how the old architectural elements are persevered, as well as how new elements are added to form their unique characteristics. Thus, the remodeling methods are classified into four types based on causes: restoration, extension, renovation and rebuilding. Such methods are used jointly rather than individually. The ancient building remodeling is the process of recreating new functions and new artistic values to preserve the cultural and artistic values of existing historic buildings.

• 한국실내디자인학회논문집
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• 제21권4호
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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.

• 한국조경학회지
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• 제28권4호
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• pp.132-137
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• 2000

In June, the City of Seoul held a design competition for $\ulcorner$Seoul Park$\lrcorner$in Paris to promote friendly relations with its sister city. The purpose of this paper is to articulate the design concept of a scheme submitted by the author. The author interpreted the object of this design competition as follows: if we regards a park not as one of urban planning facilities but as a space for expressing a culture, $\ulcorner$Seoul Park$\lrcorner$in Paris is a space expressing Korean culture, or a culture of the City of Seoul in Paris, France. Three points were emphasized in this scheme: 1. Physical and non-physical aspects of Korean culture, or a culture of the City of Seoul were expressed separately. In physical part, a traditional Korean garden was reappeared to express its authenticity compared to its counterpart, French classical garden - its formal and grand style. In nonphysical part, Seoul's features and its citizen's facial expression were engraved on 'free standing walls' named 'Seoul Expression'. In addition, Korean traditional and modern performing arts will be performed in a square named as 'Seoul madang' surrounded by the free standing walls. 2. A space clearly divided by the fence was necessary to distinguish a traditional Korean garden from the place which looks like an amusement park. Traditional wall, mounding and pine tree groves were included. 3. Bamboo grove with the way taking a walk was introduced. The author expected that Parisian feels oriental mystery, the sound of wind, and the time lag of past and present in this sounding bamboo grove.

• 대한조선학회논문집
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• 제46권2호
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• pp.114-126
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• 2009

The authors adopt the Unmanned Undersea Vehicle(UUV), which has taken the shape of manta(Sohn et al. 2006). They call here it Manta-type Unmanned Undersea Test Vehicle(MUUTV). MUUTV is based on the same design concept as UUV called Manta Test Vehicle, which was originally built and operated by the Naval Undersea Warfare Center(Lisiewicz and French 2000, Sirmalis et al. 2001). In order to evaluate manoeuvring motion characteristics of MUUTV, numerical simulation technique has been utilized. Previous mathematical model on manoeuvring motion of MUUTV(Sohn et al. 2006) is basically adopted. Result of static experiment carried out in circulating water channel and a part of NSRDC standard model(Feldman 1979) on rotational mode are supplemented. Some of the hydrodynamic derivatives are obtained from model experiment in circulating water channel and the rest of them are estimated.

• 건축역사연구
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• 제9권2호
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• pp.85-100
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• 2000

This paper is a study of the Beaux-Arts discipline of architecture, as it was established during the late nineteenth century in America. It focuses on trio particular modes of vision and representation that were at the heart of the discipline. The paper argues that Beaux Arts vision was centered on what may be called 'planar vision'; a mode of seeing through which the multiple aspects of the architectural design imbedded in the plan were read and re-interpreted. Similarly Beaux-Arts training in drawing required its student to draw within the multiple layers of historical traces; the new design being in effect a new layer placed on often unseen traces of monumental precedent. The theoretical basis of this practice was not based on history but on the concept of composition. Composition, in the French tradition was regarded more a matter of practice than theory. The Anglo-American discourse on composition, on the other hand, formed a body of theoretical literature based on formalist assumptions. There was, however, a fundamental gap between these formalist theories of composition and the 'layered' modes of vision and drawing involved in the design process. This practice leaned more on the modern romantic notion of 'intuition' for its theoretical basis, once again forming an immanent conflict with the mimetic practice of classical and historical architecture. The paper draws a picture of a discipline centered on a 'theory of the plan,' a potentially modern discipline integrated with classical forms and details. It was clearly effective as a practice. However, structured by conflicts between theory and practice, history and form, mimesis and intuition, the Beaux-Arts was unable to defend itself at the philosophical and theoretical level the modernists engaged their attacks on this system. At the same time, the paper poses the question of how different modern architecture is from this system. Is not the 'theory of plan,' in its many transformations and guises, still the central discipline of twentieth century modern architecture, and is it not structured by basically the same kind of conflicts and paradox that were immanent to the Beaux-Arts system.

• 한국구조물진단유지관리공학회 논문집
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• 제23권7호
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• pp.152-163
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• 2019

본 연구에서는 강섬유의 혼입, 매트릭스의 압축강도, 전단철근과 전단경간비가 UHPFRC 휨재에 미치는 영향에 대해 총 10개의 실험체에 대한 실험을 통해 검토하였다. 실험결과 2%의 부피비로 강섬유가 혼입된 경우 파괴 패턴을 전단파괴에서 휨파괴로 바꿀 정도로 높은 전단강도 증진효과를 보유하고 있는 것으로 나타났다. 또한 강섬유는 낮은 전단경간비에서 압축스트럿의 파괴를 지연시키는 효과를 가진 것으로 나타났다. 실험 결과 강섬유의 혼입과 전단경간비의 변화에 따라 균열각이 45도보다 낮은 것으로 나타났다. 실험 결과를 UHPC 설계권고안들과 비교해 본 결과 프랑스의 설계권고안은 보수적으로 평가하였고 한국의 설계권고안은 휨 강도에 대해 다소 과대평가하는 것으로 나타났다. 전단강도에 대해서는 두 설계권고안 모두 보수적으로 평가하는 것으로 나타났다.