• 건축역사연구
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• 제3권1호
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• 문화기술의 융합
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• 제7권1호
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• pp.92-98
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• 2021

합리성과 효율성을 끊임없이 요구받고 있는 현대사회의 시대적 흐름은 사회 전체의 패러다임이 되었다. 이 패러다임은 건축설계와 건설업계에도 큰 영향을 미치고 있다. 디지털 도구의 발전과 인터넷을 통한 정보기술(Information Technology)로 대변되는 현대 기술은 건축설계와 건설업계에서 파라메트릭 디자인(Parametric Design)과 BIM(Building information Modeling)이라는 두 개의 큰 흐름을 생성하고 발전하고 있다. 비록 각기 다른 이유로 탄생했으나 효율성과 합리성이라는 공통의 목적으로 서로의 경계를 넘나들면서 건축설계와 건설업계에 큰 영향력을 보이고 있다. 이러한 맥락에서 본 연구는 BIM 설계에 적용을 초기 기획설계단계에서의 파라메트릭 디자인이 어떻게 이루어져야 하는지에 대한 내용을 예시를 통해 구현해 보고자 했다. 해체주의(Deconstructivism) 건축가 "프랭크 게리"(Frank O. Ghery)의 작품인 월트디즈니 홀(Walt Diseny Consert Hall) 설계의 프로세스에 대한 고찰과 체코프라하의 네덜란덴 빌딩(National Nederlanden Building)의 형태를 파라메트릭 설계 툴(Tool)을 사용하여 기획설계단계에서의 형태를 구현하고자 했다. 향후 이 연구는 기획설계단계에서의 파라메트릭 디자인의 범위를 넘어서 궁극적인 BIM의 적용 즉 계획 및 실시설계 그리고 시공에 이르는 건설산업 전반에 적용 가능한 기초 자료로서의 목적에 사용되고자 한다. 향후 파라메트릭 디자인 알고리즘을 활용한 계획 및 실시설계단계에서의 BIM의 적용을 진행하고자 한다.

• 무역상무연구
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• 제38권
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• pp.123-152
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• 2008

It is a basic rule in the credit law that original documents are required unless otherwise stipulated by the credit. Due to modern technology enabling documents to be produced in many ways it may not always to decide whether a document is original or a photocopy. In consideration of modern technology and the advent of new methods of document production, ICC has drawn up the provisions on original documents in Article 22 (b) of UCP 400 for the first time. The equivalent provision in UCP 500 is Article 20 (b). As a result of many queries to ICC Banking Commission on what constitutes an "original" documents under UCP 500 and several court cases in connection with original documents, the ICC Banking Commission has issued Decision on original documents in July 1999. Based on this Decision, the ICC dealt it in Article 17 under UCP 600 which came into force on July 1, 2007. There are some changes, replacements and new provisions of UCP 600 concerning original documents and copies. Importers, exporters, insurance companies, other third parties and, above all, banks should pay attention to some changes and implications of UCP 600 concerning original documents and copies. The purpose of this paper is to examine the provisions on original documents and copies under UCP 600. For this purpose, firstly this study deals with the relative provisions on original documents and copies under pre-UCP 600. Secondly this study considers the provisions on original documents and copies under UCP 600. Thirdly this study compares the provisions under pre-UCP 600 with the provisions under UCP 600. Finally this study analyzes the cases decided both home and abroad in connection with original documents. This paper contribute to help the parties to letters of credit to understand the provisions on original documents and copies under UCP 600.

• 복식
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• 제56권7호
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• pp.79-95
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• 2006

The relationships between costumes and literature are the remarkable characteristics in the history of Japanese costumes. Among them, the literary designs which have literary subject matters seem unique to Japan. In Japan, the history of the literary design traces far back and its examples are abundant in various literatures in the Heian era. It is particularly notable that the literary designs take a relatively large part of Kosode pattern in the pre-modern period, the Edo era, which can be cleary seen in Kosodehinagata-bon, a collection of Kosode pattern of those era, in addition to various sources of extant relics or paintings. These literary designs lie the tradition of the literary lyricism as aesthetic sense in the japanese costume history. The literary lyricism means the lyrical mood evoked by literature. The purpose of this study is to examine how the literary lyricism which has supported those literary designs was formed and developed. The literary designs on costumes related with the relationships between literature and formative art, for example painting. Those typical example, which started in the literature tournament, utaawase, was devised for matching up with the character of the assembly. They continued as a sort of the intellectual amusements. In the pre-modern period, the literary designs developed In relation to not only subject matters but those expression. Moreover, it shows the extremely typical example that a series of Kosodehiinagata-bons, consisted solely of literary designs, was enjoyed as a device of reading materials like poem anthology.

• 건축역사연구
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• 제15권4호
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 한국사회복지학
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• 제68권2호
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• pp.79-105
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• 2016

본 연구는 1876년 개항을 전후한 시기부터 1910년까지의 분배체계를 검토하면서 전자본주의 사회의 분배체계를 정치와 경제의 연관성 하에서 이해하려고 했다. 너무나 당연한 결론이지만 분배체계는 한 사회의 정치적 경제적 특성과 변화를 반영하고 있다는 명제가 전자본주의 사회에서도 여전히 통용될 수 있음을 확인했다. 경제적 변화에 조응하지 못하는 분배체계는 그 시대를 사는 사람들에게 "축복이 아니라 재앙"이라는 사실을 환곡이 세금으로 변화되는 과정을 통해서 확인했다. 이를 통해 이 연구는 몇 가지 중요한 함의와 질문을 도출해 냈다. 하나는 일제강점기 이전 조선사회의 분배체계에 대한 새로운 서술이 필요하다는 것을 확인했다. 다른 하나는 대부분의 사회복지 문헌들에서 근대이전의 조선의 분배제도로 '계'와 '향약' 등 민간에서 이루어진 자조적 제도를 언급하지만 이는 조선사회의 분배체계, 특히 조선후기 분배체계의 특성을 적확(的確)하게 설명한 것이라고 보기 어렵다. 제도가 진공상태에서 만들어지지 않는다는 점을 고려하면 조선이 자본주의 세계체계에 편입된 개항을 전후한 조선후기의 분배체계에 대한 이해 현재 한국사회의 분배체계(복지체제)를 이해하는 출발점으로 다시 복원될 필요가 있는 것이다.

• 패션비즈니스
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• 제17권6호
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• pp.44-59
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• 2013

The modern people do express their personalities by appearance and actively use the appearance as the social tools, and the attractive appearance largely does influence the human relationship. As the appearance's importance is being magnified, the attractive appearance and favourable impression is an important standard for job performance and social position, and used as the way to reach the social goal. This study does investigate the design's kind and character of the beard which belongs to the male exclusive property and compare the differences of the impression's formation according to the beard design. The empirical results confirmed that the male beard design formated the various impressions according to the designs and their mutual relationship existed. Therefore, the beard is a symbol of maleness and an expression for the social position and personal character, whereas it possesses the very important meaning as the influencing factor on the impression's change. First, the pre stimuli were finished through the pre survey for composition of questionnaire in order to evaluate the impression after selection of experimental models and beard types for measuring instruments. Second, sixty three university students were surveyed by pre stimuli and questionnaire as pre experiment, and afterwards the measuring instruments and experimental design were revised. Third, the stimuli completed (nine beard designs) were intentionally well distributed as questionnaire by sex and ages in Seoul metropolitan and her environment. and the factorial analysis and the coefficient of Cronbach's ${\alpha}$ for reliability test were completed for questionnaire's validity using SPSS/PC+ Window Ver. 12.0.

• 천문학논총
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• 제23권2호
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• pp.65-71
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• 2008

It has been considered that 'exhausted eclipses' (日食旣) were total eclipses. However, modern precise calculations show that a significant fraction of such records are not realized to be total. Thus we doubt that the two concepts are equivalent. Here we investigate the meaning of 'exhausted eclipses' in the east-Asian history. We first find that eclipses of magnitude greater than 0.8 were regarded as 'exhausted eclipses' by a Korean astronomer of the 18th-century Choson dynasty. His notion was based upon the definition of 'exhausted eclipses' in the ephemerides of pre-modern Chinese dynasties. According to those ephemerides, the 'exhausted eclipses', whose magnitude is greater than 0.8, have the first contact at the western part of the solar disk and the fourth contact at the eastern part of the solar disk. A simple geometrical calculation shows that such cases really occur when the magnitude of eclipse is greater than 0.7. We pointed out that such an ancient definition might not be impractical for ancient astronomers, because the uncertainty of eclipse magnitude estimated by ancient Chinese ephemerides was 10% and the human sight has a spatial resolution of 1.2 arcmin, which is approximately one twentieth of the Sun's angular diameter.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.270-274
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• 2007

Clearing trace of symbol which was gone with a series of pre-modern architecture history since the modern architecture (pursuing true nature from tradition which is repeated and imitated unconsciously). That is, What is the course of deconstruction? In the early part of the 20th century, We still accept the necessity of decoration in spite of its existence at one time being threaten. This means, even though symbolism in architecture has relative importance by situation of Times, it plays an important role to add the past to current style through 'Symbol'. The history of Times, a carrier which reflects Present on New Futures, makes memory by gathering data but we can not amplify our historical imagination with only data. Data is a past memory and evidence but we can not substitute that for historical experience. And it is difficult for future generations who don't live through that history to change their historical recognition with recollecting memories. They have to draw history with data but it is very limited in itself. However, They can collect historical memory through symbol in architecture. In this study, We pay attention to the symbolism of a memorial hall architecture. So We'll analyze dichotomy concept of Barthes's signifiant and signifie, visual sign and course of symbolic meaning on basis of Daniel Libeskind's Jewish Museum.

• Asian review of World Histories
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• 제2권2호
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• pp.147-167
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• 2014

The urban modernity that became an irresistible model for elites in Asia in the decades before and after 1900 was far from being gender-neutral. It represented an exceptional peak of patriarchy in its exclusion of respectable middle class women from the work force, from ownership and control of property and from politics. Marriage was indissoluble and the wife's role in the male-headed nuclear family was to care for and educate the abundant children she produced. Puritan religious values underlined the perils for women of falling outside this pattern of dependence on the male. Though upheld as modern and civilized, this ideal was in particularly striking contrast with the pre-colonial Southeast Asian pattern of economic autonomy and balance between women and men, and the relative ease of female-initiated divorce. Although attractive to many western-educated Southeast Asian men, including religious reformers determined to 'save' and domesticate women, urban respectability of this type was a poor fit for women accustomed to dominant roles in commerce and marketing, and at least equal ones in production. Southeast Asian relative failure in the high colonial era to adapt to the modern market economy may also have a gendered explanation. We should not be surprised that patriarchy and puritanism became more important in Southeast Asia as it urbanized in the late 20th Century, since this was echoing the European experience a century earlier. The question remains how far Southeast Asia could retain its relatively balanced gender pattern in face of its eventual rapid urbanization and commercial development.