• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.69-79
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• 2001

The purpose of this study is to examine the characteristics of Arne Jacobsen's chair design. He was one of the few creators who inscribed his name in both the history of architecture and furniture design. His works reflected a form of "Regional Modernism" in which traditional techniques collide with functionalist beliefs. This grafting of ideas generated a person aesthetics which he used to establish a suitability of scale, detail an program for each design. In the material aspect, he had enjoyed using the plasticity of the plywood, polyurethane, tubular steel and in the formative aspect, organic form is combined with minimalization of material and simplicity. To sum up what is unique about Arne Jacobsen's chair design, it is that it is distinguished by a clear understanding and expression of beauty from nature, a complete understanding of the material used and the melding of traditional and functional techniques to generate organic form.anic form.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.97-111
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• 2023

Dynamic orphism images expressed with abstraction and construction in color are often found in modern fashion. Orphism stressing color is one of the many art trends that influence fashion. This work aims to examin its expressive effects and characteristics that appear in fashion and provide basic materials for fashion design study. This study proceeds with the following steps. First, the study takes on a theoretical examination of the orphism trend using a literature review. Second, based on its results, modern fashion's expressive features influenced by orphism are analyzed. Third, the study draws expression effects in modern fashion from these characteristics. The study coverage is confined to domestic and foreign collections released in the 21st century. The study contents come from an Internet-base domestic and international database and published material, including dissertations and books. Orphism expression effects are found in the following ways in modern fashion. First, it lies in the abstraction effect of color. This feature arrays flat geometric figure on the clothing surface and applies a strong sense of color inside it, as if color has an abstractive structured design. Second, it gives a dynamic sense visually to the clothes all at once by stressing the relation among and between the colors with powerful contrast. Third, it has a collage effect of color. This effect develops into an organic combination composed of geometric plane figures with intense complementary colors in a single piece of clothing. Expression types that presents the orphism effect in fashion are divided into clothing showing traditional orphism characteristics faithfully and clothing expressing conventional orphism characteristics mixed with modern trends. Further developed orphism fashion can be classified by the playful type, with graffiti added onto an orphism color structure, and the destructive type, where traditional orphism color orders are taken apart and reformed into a new color order.

• Korean Institute of Interior Design Journal
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• no.33
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• pp.19-26
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• 2002

This study analyzed the characteristics of spatial expression in the Barcelona Pavilion to be based on tectonics. Mies pointed out the image of materiality about the material rather than the process of tectonics using the material, and he also expressed demateriality in the image of each material through the reflection. To be liberated from structural matters, the wall has been introduced. He intended to show the design plan as the independent structural system, however, the wall actually seems to be supporting the roof that shows rather clearly self-contradictory because of the expression of materiality in the material. In terms of architectural elements; wall, roof, column, floor, and so forth, tectonic expression and abstract aesthetics stands face to face, because of hiding the productional process and transforming to line and surface in the image of materiality. The interior of the glass wall seems fairly closed space from the exterior, because materiality and reflection of materials of columns and podium. The character of experiential space is inconsistent and fragmentary because of the splendid images from maternality and reflection on the wall, and collision with the reality and the image the wall reflects, even though the geometrical space of the Pavilion's plan has the mutual penetrability and organic character.

• Fashion & Textile Research Journal
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• v.11 no.1
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• pp.24-32
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• 2009

The purpose of this study is to understand characteristic of expression in Korean style fashion design and investigated Korean style fashion design's deployment and design idea method as well as its esthetic value. The photographs for the research were selected from fashion collections during S/S 2003-F/W 2007 by four specialists in the department of textile and then analyzed with 288 final data. The results were as followings. First, the characteristics of design expression in Korean style fashion design were formation by separating partial shape from the whole, formation by shape's separation and repetition, and connecting formation by combination and transformation of parts. In the case of color, they were direct expression, contrasting formative expression, and gradual changing expression. In the case of pattern, they were the methods of filling, filling & emptying, and partial filling. Second, the deployments of Korean style fashion design were adding modern elements to traditional things, combining traditional elements and modern things, and adding traditional elements to modern things. The third, Korean style fashion design's idea methods were weaving, snatching, adding, and changing. Fourth, it was shown that esthetic values of Korean style fashion design were the interactive organism by building organic relationship, the optimum expressing beauty with minimum elements, the palpitation having dynamics and rhythmical beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.157-173
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• 2013

In the pleats of the statue in the ancient Greece, a vivid expression is included about clothing, which has organic relationship with a human body. This study examined about diverse expressions of pleats that were shown in the Greek sculpture, based on understanding about a pleat meaning and function, and clothes. As a result, the clothes, which were shown in the statue in the ancient Greece, were reflecting spirit and fashion of the times. The pleats, which were expressed in clothing, are closely related to a human body and simultaneously are those that a sculptor showed own creative intention in a work by reflecting a historical demand, thereby having become an important element of dominating the image in the whole clothing. Also, a change and development in expression were being progressed according to a flow of each period. Amidst what expressiveness based on lines are excellent, the unity and the dynamic formative characteristic were forming the mainstream. The design-based elements related to these characteristics are judged to possibly give many inspirations to designers in the modern fashion design sphere, which is mixed diverse styles, and are considered to be able to be helpful even for establishing newer and more creative design.

• Korean Journal of Rural Living Science
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• v.10 no.1
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• pp.43-57
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• 1999

A style of art is an expression of human aesthetic desires, social environment and other cultural yeatures of that time. costume as a means of physical existence of such expression cannot be studied apart from the art style of any given time. In this paper an attempt is made to find out the characteristics of costumes in Renaissance and Barogue by examing the theory of Wolfflin. The organic relationship with the manifestation of human beauty in the genuine art and its formality was clear so that the fact that the dress and its costume are actually a synthetic art and there is close connection with genuine art were made clear. In conclusion, costume and art style are in different genre, they pursued the same way in the same category of Wolfflin's theory in Renaissance and Baroque.

• Molecular & Cellular Toxicology
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• v.4 no.1
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• pp.45-51
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• 2008

Volatile Organic Compounds (VOCs) have been shown to cause nervous system disorders through skin contact or respiration, and also cause foul odors even at low densities in most cases. Also, as a compound itself, VOCs are directly harmful to the environment and to the human body, and may participate in photochemical reactions in air to create secondary pollutants. In this study, HL-60 cells were treated with volatile organic compounds, including ethylbenzene and trichloroethylene, at a value of $IC_50$. Then, the in house-prepared Human HazChem arrayer was utilized in order to compare the gene expression between the two VOCs. After hybridization, 8 upregulated genes and 8 downregulated genes were discovered in the HazChem array. The upregulated genes were identified as SG15, TNFSF10, PRNP, ME1, NCOA4, SRXN1, TXNRD1, and XBP1. The downregulated genes were identified as MME, NRF1, PRARBP, CALCA, CRP, BAX, C7 or f40, and FGFR1. Such results were highly correlated with the quantitative RT-PCR results. The majority of the 16 genes were related with the characteristics of VOCs, including respiratory mechanism, apoptosis, and carcinogenesis-associated genes. Our data showed that our human HazChem array can be used to monitor hazardous materials via gene expression profiling.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.10-18
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• 1998

This study aims to make clear visual quality of organic form and structural order that is immanent in nature about a form as formative principles of architectural space design the significanced of this study is to prove the application possibility in to functional form architectural space design. All organic forms in nature has a unique shape and pattern in structure to be self-controled and good in order. Such an order in nature comes from regular construction and ratio principles which has aesthetical order by mathmetics. The specialty of beauty in nature can be revealed not only visual form but also the ratio balance and rhythm of structural principles. As we examine the aesthetic source embodied some object can be developed in to basic principles. Furthermore through this study we can find out that the form construction theory in nature forms share the quality attribute with geometrical form to be shown in architectural space design. Natural forms are ultimate visual expression of power that effects on the architectural space design. The rule of power in nature as nature formal characteristics have a direct influence and can be also applied to architectural construction. Therefore I expect that this study will be linked and continued to another structural view.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.64-72
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• 2005

The purpose of this study is to propose a topological design principles and to analyze the space of digital architecture applying topological invariant expressive characteristics. As this study is based on topology as a science of true world's pattern, we intented to explain the concepts and provide some methods of low-level and hyperspace topological invariant Properties. Four major aspects are discussed. Those are connection theory, boundary concept, homotopy group, knot Pattern theory as topological invariant properties. Then we intented to make understand topological characteristics of the Algorithms, luring machine, cellular automata, string theory, membrane, DNA and supramolecular chemistry. In fine, the topological invariant properties of the digital architecture as genetic algorithms based on self-organization and heterogeneous networks of interacting actors can be analyzed and used as a critical tool. Therefore topology can be provided endless possibilities for architecture, designers and scientists intended in expressing the more complex and organic patterns of nature as life.

• Journal of Plant Biotechnology
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• v.44 no.2
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• pp.178-190
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• 2017

$Fragaria{\times}ananassa$, a strawberry evolved from hybridization between F. virginiana and F. chiloensis, is a globally cultivated and consumed fruit crop valued for its flavor and nutritional value. Flavor and quality of fruits are determined by factors such as sugars and organic acids present during fruit development. These characteristics are highly subjective in different genotypes and affected by various environmental factors. In this study, we analyzed contents of major sugar compounds including fructose, glucose and sucrose by HPLC analysis in four cultivars namely, Maehyang, Seolhyang, Festival and Sweet Charlie. We identified 55 genes related to fructose, glucose, sucrose and soluble sugar regulation whose expression were analyzed in four cultivars at three developmental stages of the fruit namely, green, white and ripened stages. Expression of these genes across these progressive fruit developmental stages varied among cultivars. Among the 55 genes, genes FaFru3, FaSuc11 and FaGlu8 revealed differential patterns of expression along developmental stages of the fruit in high and low sugar-containing genotypes, respectively and may be putative candidates for sugar content in strawberries. Expression of genes are discussed with regard to corresponding sugar content in these genotypes. Further analysis and application of these genes may be valuable in developing high sugar containing cultivars via marker-assisted breeding.