• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.206-207
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• 2002

• Journal of architectural history
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• v.29 no.5
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.51-61
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• 2002

This study deals with Rhythm which is one of aesthetic variables. Aesthetics among the factors of consumer preference has been importantly considered in competitive market environment. Therefore , consumers' purchasing standard has been also changed as their consciousness has been changed according to the variation of their lire style. Besides, the technique and method of design faces up to the change because of consumers' diverse wishes. Hence, to satisfy consumers' needs and the market front now on characterized as the short durability cycle of products, a distinctive design should be developed in the form of products that can be an important factor to attract consumers preference. So, in this study, 1 will try to understand typology based on a categorization theory and the conceptual structure of aesthetics, which are importantly considered at the same time. In addition, I will establish a new design process by extracting Rhythm affecting aesthetic. Ultimately, this study aims develop more consumer preferring design beyond the limit of a designer's idea and design generation by the result of this study.

• Science of Emotion and Sensibility
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• v.7 no.1
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• pp.29-40
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• 2004

Even though rhythm is considered theoretically and practically as a form element influencing consumer's aesthetic response on product design, researches on it relatively less performed than other product aesthetic elements. And also existing researches have only suggested rhythm as one of aesthetic elements in product design but they haven't suggested overall insight on how to apply rhythm into product design. This study tested how rhythm expression in product design affects consumer's aesthetic response according to price level and brand hierarchy. The result shows that rhythm is clearly one of aesthetic elements. And rhythm expression increase consumer's aesthetic response in low priced product condition regardless of brand hierarchy. But in high priced product condition, rhythm expression decreases consumer's aesthetic response because of perceived risk. Only when in high prestige brand condition, consumer's aesthetic response remains high because of trade-off relationship between perceived risk and brand equity. The result of this study enables designers to understand characteristics of rhythm. Also, the result can give companies the useful way on how to use rhythm element as a strategic tool if they consider their brand equity level and product's price level.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.45-54
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• 2016

For the design of landscape, quantitative research is very important data for the designer. In this regard, this study analyzed the rhythm of the wall of Oksan Seowon, which horizontally ascends the slope, as the principles of design. This resulted in the deduction of the numerical proportion and progression, which became design motifs and proposed a design method, which can be applied in landscape rhythm design. The Oksan Seowon is a very valuable cultural heritage, where a very meticulous design principles were found as a result of the analysis of the slope rhythm, for which the proportion and scale were employed. A principle of proportion was found, where an asymmetric balance was formed by weighting the lower part of the slope, in accordance with the degree of the slope. Also, The scale of the height of the wall was based on the human scale. The aesthetic rhythmic design progression was derived from the area and the horizontal line rhythm of the walls. Also, They found out the Fibonacci series and golden ratio. The fact that cultural heritage was analyzed of aesthetic design principles by the very systematic quantitative method is of great significance. Moreover, derived motifs proposed examples of an application of analyzed rhythm progression to the landscape rhythm design. This research will be able to function as the frame and data for the design method of the landscape rhythm.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.64-65
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• 2002

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.12-13
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• 2003

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.109-110
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• 2012

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.190-191
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.126-127
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• 2004