• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 건축역사연구
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• 제8권4호
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• pp.129-146
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• 1999

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art $Sacr\'{e}$ Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art $Sacr\'{e}$ Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

• 한국실내디자인학회논문집
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• 제20권2호
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• pp.39-46
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• 2011

Danish Modern has been recognized as simple and comfortable design movement that was matched with its unique regional environment. There are various internationally well known designers such as Arne Jacobsen, Verner Panton. Danish Modern movement and International style had vital role to activate these designers' ideas and design quality. This paper aims to study the background and design characteristics of Danish Modern movement as well as some of the spatial projects by Arne Jacobsen. Furniture design of Jacobsen were already throughly studied in various researches. However his spatial projects such as architectural buildings and interior designs were not. This study analyzes three major architectural projects based on the four characteristics of Danish Modern: Formal Simplicity, Simple Functionality, Regional Contextuality, Reasonable Amusement. After the case study, this study discovered that Danish Modern characteristics had unique roles in the design process of Jacobsen's projects. Danish Modern is still valid design philosophy that can be applied to contemporary society.

• 한국실내디자인학회논문집
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• 제8호
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• pp.16-22
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• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

• 복식
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• 제20권
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• pp.125-135
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• 1993

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.

• 건축역사연구
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• 제32권1호
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• pp.21-34
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• 2023

The purpose of this research is to investigate Korean architects' perception of the Modern Movement in architecture in the West during the Japanese colonial period, by analyzing two Korean publications in the 1930s: Park Dongjin's 'Present Architectural Tendency' (Dong-A Ilbo, March 1931) and Hong Yunsick's 'Trend in the Thought of Moderne Baukunst' (Chogwang, September 1937). As a result of the investigation, it is confirmed that the two men welcomely accepted the universal modernity, regarding the rational and functional - rather than subjective expressions of the individual - as the key to modern architecture. Although their perception of the Modern Movement in Western architecture was inevitably superficial due to the limited condition of the Japanese colonial period in Korea, there was an obvious advancement in the latter's perception from the former's, reflecting the progress in knowledge of it over the six and a half years between the two. Therefore, it is argued that their 1930s' writings are meaningful as the first Korean publications that illustrate how Korean architectural circles perceived the contemporary architectural movement in the West.

• 한국가구학회지
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• 제18권2호
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• pp.120-128
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• 2007

This study explored the philosophical Modernity with the Enlightenment in relation to cultural and aesthetic modernism rooted in Modern furniture, which directly reflected modern culture and society with rationality, science, individualism, progressive, universal truths, etc, using qualitative analysis about the related literature as the principal methodology. A fundamental philosophy of the modern furniture influenced by Industrial Revolution is that the dictates of function and industrial technology must be decided by form. The theory and practice of the International Style in modern furniture came from the modern aesthetics in the philosophy of Modernity. As a result, as influenced through the Enlightenment project and the relationship of individual to society in relation to cultural and aesthetic modernism, and the three modern movements with furniture, which are Arts and Crafts movement, Art Nouveau, and Art Deco, represented the beginning style of modern furniture design toward functionalism or minimalism.

• 한국디지털건축인테리어학회논문집
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• 제7권1호
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• pp.15-20
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• 2007

This study is aimed to analyze the method of movement expression in the Space-Time of Modern Visual Art. According to the results of analysis. the following is obtained. (1) The still object is perceived by the sense or optical illusion, and its whole image is made through the information processing prodedure. The concept of Space-Time is integrated into the constructivist works by the composition of image through transforming the position of the fundamental geometry and projecting it. (2) The traditional notion that the work of art is still concept of is changed. The movement of observer is caused by inducing the direction and concept of time through the object in three dimensional space.

• 한국디지털건축인테리어학회논문집
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• 제5권1호
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• pp.32-39
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• 2005

Even though geographical drawbacks of Netherlands, the De Stiji Movement has been acting extensively as a composite arts movement. Furthermore, because this movement has influenced on even field of architecture, Walter Gropius, who had led to establish the modern architecture at that time, was not also able to be excluded from the influence of De Stiji movement. As a result, his works after 1922 when De Stijl movement had been acting vividly, shows a part of De Stijl style and definitely has a difference via-a-via early of his works. Therefore, this study in this point of view is on the purpose of how De Stijl Movement influenced on Gropius' works as the ideology of place and concepts in the period of both De Stijl Movement and Modern architecture style were being formed together. Especially, this study will analyze Dessau Bauhaus Building, which is the most influenced by De Stijl Style in Gropius' works, into the way of how De Stijl. was embodied to this building.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2017년도 춘계 종합학술대회 논문집
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• pp.321-322
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• 2017

이 연구는 작품분석을 통해 작품에서 나타난 모던댄스(modern dance)와 컨템포러리댄스(contemporary dance)의 차이를 분석하고 논의하는 것을 목적으로 두었으며, 그 결과 모던댄스와 컨템포러리댄스를 움직임, 음악, 무대미술 이라는 세 가지의 키워드로 나뉠 수 있었다. 크게 모던댄스는 신체의 확장, 서정적인 분위기의 음악, 근육의 섬세한 움직임을 통한 춤의 본질을 표현하게 되었고, 컨템포러리댄스는 신체의 분절, 전자음과 강한 비트, 정형화 되지 않은 조명과 락 콘서트를 연상하는 이미지를 연출할 수 있었다.