• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.30-39
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• 2015

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.122-139
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• 1999

Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. The purpose of this study is to analyze the various factors, including some major artistic movements, which influenced on the formative characteristics of Paco Rabanne\`s fashion design. First, Paco Rabanne\`s fantastic new materials is also influenced by his study in architecture and his own fantasies -which other people can hardly imagine- during his early childhood. Second, light one of the most important element in Paco Ranbanne\`s fashion design, shows some influence of medieval symbols of love and salvation. Third, the artistic trends which influenced on Paco Rabanne\`s fashion include surrealism, opart, and kinetic art. His use of new materials and avant -garde style represents the influence of surrealism. his experimental use of waving plastics and glittering metal during his early period is especially related with opart and kinetic art in the early 1960s which emphasize the artistic effect of light and movement. Fourth, the geometrical figures like triangles, rectangles, and circles represent the influence of Egyptian architecture like pyramids and the geometrical characteristics of Eguptian art. Fifth, Paco Rabanne\`s distinctive use of metal chains in his fashion shows the influence of the chain mail hauberk, the medieval knightly armour. By using the medieval material Paco Rabanne properly expressed the modern person\`s pain and suffering. Sixth, the ethnic elements of Egypt, Africa, Spain, and Japan reflect the experience in his former lives he insists he lived. The ethnic elements of his dresses emphasize the natural vitality and inheritance from the past.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.140-143
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• 2004

The move from steel tubes to bent wood and the 'laboratory experiments' with wood which Aalto carried out in order to create furniture gave him vital impulses as he sought and found his own architecture style in the 1930s. Like his architecture Aalto's chair designs represent a 'humanized' interpretation of the severe aesthetic and radical technological experimentation of the Modern Movement. The purpose of this study is to find what is the result of the form of his works on the basis of main idea and tend of his works, to search the element and principle of formal composition, to establish the relation-ship between the architect's philosophy and the form of his works. Aalto's furniture, constructed of laminate bent wood or moulded plywood, is not only functionalistic, but also ideal for the psychological need of the people, which is the special quality that complements the Factionalism that features mostly on the metal tube furniture. It shows that Aalto is a humanist dealing with mechanized age.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.33-48
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• 2002

The purpose of this study is to analyze the Daniel Libeskind' spatial concept in view of the Merleau-Ponty's Phenomenology. After the coming of postmodern architecture, the concept of space ceased to be discussed between architects. Instead a sign and a form were supposed as much more important subject to define architectural discipline. But after 1980, the new concept of architectural space was experimented by the architects like Frank Gehry, Peter Eisenman, Steven Hall, and Bernard Tschumi, which was clearly distinguished from modern spatial concept. By the Daniel Libeskind' architecture, this study are to make clear this tendency. For this, we accept as an important instrument Meleau-Ponty's phenomenology and the spatial concept of Minimalism, which stress the relationship of inter-subjectivity between space and human body. Consequently, Daniel Libeskind' spatial concept is characterized by fragmental, accidental, heterogeneous space by accidental events which is occurred by movement of human, which was indentified with Merleau-Ponty's spatial concept.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• Journal of the Korea Furniture Society
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• v.10 no.2
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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.

• Journal of architectural history
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• v.20 no.1
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.100-111
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• 2013

The theories of optical/haptic perception provide us contrasting insights into the perception of space in movie and architecture. Through the lenses of these theories, this study aims to analyse the optical and haptical aspect of the medieval library of the film, The Name of the Rose. The dominance of vision over the other senses has been maintained by many philosophers, such as Plato, Aristotle, and Aquinas, and this trend leads to the development of the hierarchical and perspective space of Renaissance and Modern Architecture. Those conceptions of optical space help us not only identify space as clear and distinct three-dimensional entity but also separate the subject and the object. However, tactile/haptic perception is more useful to explain the experience of film and contemporary architecture than optical perception. This haptic space is developed by Alois Riegl, Walter Benjamin, and Gilles Deleuze. This study intends to search for the difference between two perceptions on the architectural space of the movie, examine the relation between architecture and human, space and user.

• Architectural research
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• v.15 no.4
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• pp.191-200
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• 2013

Since Modern Movement flexibility has been one of the most attractive words in architecture. However, "overprovision first, division later" has been the most prevailing design method for spatial flexibility, and many of buildings designed for flexible use are practically quite inflexible due to insufficient building systems or/and irresponsible planning. There have been two dominant strategies to achieve architectural flexibility: multi-functionality and polyvalence. These two approaches, which point contradictory directions, actually reflect the difficulty in providing a proper form of architectural flexibility. Multi-functionality can afford changeable environments with satisfying spatial conditions; however it lacks tolerance to accommodate other uses but intended functions by architects. Meanwhile, flexibility by a polyvalent form relies on the vague anticipation of user's various interpretations. In this study by looking up these two different standpoints and historical precedents flexibility in architecture is carefully scrutinized focused on the contradiction, and as an alternative for architectural flexibility contextual relations is proposed. Unlike both multi-functionality and polyvalence, which produce flexibility by changing its own properties, manipulating contextual relations infuses flexibility into space by changing the properties of a building, not of its individual room. By using this contextual relations method, a community-centered school in Manhattan, NY, which was in danger of being closed because of its academic failure, is represented as a flexible space.