• Journal of the Korean Institute of Landscape Architecture
• /
• v.29 no.4
• /
• pp.53-66
• /
• 2001

Modern art has had a great impact on the concepts and the formal attributes of modern landscape design. This study aimed at examining the origins of modern landscape design languages especially in relation to the influence of find art during the modernist age. The formal reductionism of Cubistic paintings finally lead to the formulation of Geometrical Abstractionism which became the basic formal model for ˝Regular Style˝; one of the representative modern landscape style. This Regular Style is mostly based on the formal structure of ´Grids´, which was developed by many landscape designer like Eckbo, Kley and Halprin. On the other hand, the ´Bio-morphic Form´ originally used in Surrealistic Art became the formal model for ˝Organic Style˝; the other representative modern landscape style, developed mostly by the landscape designers like Church, Burle-Mark and Bye. Thus, ´Grids´ and ´Bio-morphic Form´ became the dual icons of modern art and modern landscape design. Although these modern landscape design styles were ground breaking departure from the conventional formal/informal tradition and expanded possibilities in formal experimentations, They also produced several crucial limitations originated from the scientific reductionism and autonomous aesthetics of modern art, like the physical and cultural discontinuation from surrounding environments and the formal alienation from the real life world, which gave rise to the emergence of post-modern thinking of landscape design.

• Archives of design research
• /
• v.20 no.1 s.69
• /
• pp.203-218
• /
• 2007

Does CAD technology have a possibility to promote new logics of design thinking and form-creation? Starting with such a question, this study inquires into soical constructions of linear perspective and CAD programs. Using a concept of the modelling interface as an analytical frame, this study discusses; 1) a historical process in which the linear perspective, as a drawing-oriented modelling interface, had permeated its geometrical principles into the artificial environment and justified them in a dimension of the aesthetic discourse, 2) technological contexts in which computer-based modelling interfaces such CAD programs were developed and separated from the tradition of the linear perspective, with the introduction of new kinds of modelling algorithms and graphic user interfaces.

• Journal of the Korean Society of Costume
• /
• v.60 no.5
• /
• pp.117-127
• /
• 2010

In this study, hyperspace is a result of imagination created by means of facts and fiction, represents a transfer to determination and indetermination, and means an extension to an open form. In other words, hyperspace is a high dimensional space expanded to imagination through the combination of the viewpoint on facts in this dimension and fiction. When the 2D plane surface or 3D symmetry is destroyed, or when the frame is twisted or entangled, the non-Euclidean geometry is created eventually. And when the twisting leads to transmutation and the destruction of the form reaches the extreme; this in turn became the twisting like Mbius band. Likewise, the non-Euclidean geometry is co-related to the asymmetry of the Higgs mechanism. When the 'destruction of symmetry' is considered, symmetric theory and asymmetric world can be connected. The asymmetry in turn can maintain balance by arranging the uneven weights at different distances from the shaft. Moreover, at this the concept of the upper, lower, left and right, which was included in the original form, may be crumbled down. The destruction of the symmetry is essential in order to present forecast that coincides with the phenomenon of the real world. Non-Euclidean geometry characteristic is expressed by asymmetry, twists, and deconstruction and its representative characteristic is ambiguity. The boundary between the front, back, upper, lower, inner and outer is unclear, and it is difficult and vague to pinpoint specific location. The design that does not clearly define or determine the direction of wearing costume is indeed the non-oriented design that can be worn without getting restricted by specific direction such as front and back. Non-Euclidean geometry characteristic of hyperspace have been applied to create new shapes through the modification of the substance from traditional clothing of the eastern world to modern fashion. The way of thinking in the 'hyperspace' that used to be expressed in the costumes of the east and the west in the past became the forum for unlimited creation.

• Journal of Educational Research in Mathematics
• /
• v.16 no.4
• /
• pp.327-344
• /
• 2006

This study examined the proof levels and understanding of constituents of proving by three mathematically gifted 6th grade korean students, who belonged to the highest 1% in elementary school, through observation and interviews on the problem-solving process in relation to constructing a rectangle of which area equals the sum of two other rectangles. We assigned the students with Clairaut's geometric problems and analyzed their proof levels and their difficulties in thinking related to the understanding of constituents of proving. Analysis of data was made based on the proof level suggested by Waring (2000) and the constituents of proving presented by Galbraith(1981), Dreyfus & Hadas(1987), Seo(1999). As a result, we found out that the students recognized the meaning and necessity of proof, and they peformed some geometric proofs if only they had teacher's proper intervention.