• Journal of architectural history
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• v.32 no.5
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• pp.7-20
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• 2023

This study aims to reveal the multilayered nature of the formal aspects of communal house architecture in North Korea. It is said that Kim Jong Il, who emerged as a successor after the mid-1970s, brought about a change in the architecture, leading the construction of a sculptural communal house on Gwangbok Street in 1989, and wrote The art of architecture (1992), which theorized architecture as an object of art. Therefore, it is widely perceived that the communal house was transformed from a simple form of living function to an artistic architecture with the rise of Kim Jong Il. This study, however, argues that this change was the result of an internal evolution in North Korean architecture, rather than a simple change in the position of an individual in power. It seeks to move away from the dichotomy that divides the communal house into two periods: the "KimIl-sung period," in which the communal house was laid out in a simple form to provide mass supply and a socialist lifestyle, and the "Kim Jong-il period," in which the communal house took on an artistic form, such as the Gwangbok Street communal house, in the early years of reconstruction. In the 1950s and 1960s, before KimJong-il's arrival, the communal house form was not simply a flat arrangement, but a three-dimensional and sculptural consideration of the effect on the cityscape.

• Journal of the Korean housing association
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• v.15 no.6
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• pp.15-25
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• 2004

This study examined how the characteristics of abstractive form among various contenporary housing architecture have been expressed. The conclusions were: First, abstractive characteristics and types related to from expression of contemporary housing architectures were minimal form and absolute form of geometrical abstraction, plastic form and atypical form of expressive abstraction and mechanical aesthetics of industrial abstraction. Second, the typological form expression characteristics in minimal expression related to geometrical abstraction were simplicity, purity, and the properties of matter, and the characteristics in absolute expression were overlapping, obliqueness and dispensability. On the other hand, plasticity and mobility of materials were distinctive in plastic form expression, and inclination, curve and asymmetry were distinctive in atypical expression. The distinctive nature of mechanical aesthetics related to industrial abstraction included transparency, simplicity and. the properties of matter Funhermore, the study aimed at the understanding of various from expressions showed up in contemporary housing architecture, revealing the aspects of abstractive form expression characteristics.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.85-93
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• 2009

In this study, the ex-formal expressions observed in space form of Korean modern architecture are distributed for characteristic analysis based on the period and type. The result of the study is certified by the work analysis and the result is as follows. Initially, due to the limited materials and influence of western brutalism, the works developed during 1960~70 tend to be plastic and contain expressionism. Around 1980's, the works tend to show forms of amusement and popularity. In 1990's the works show significance in deconstructive expression. From after 2000, ecological concept of architecture was introduced and organic expression started increasing Secondly, the ex-formal expressions are found to be in four different types. The organic expression is shown regardless of the period. In modern days, not only the physical properties of materials, but also the ecological concept is combined with the organic expression and is in increase. The plural expression started appearing after the 1980's and the sculptural diversity is enhancing with the addition of decorative factors or modification of geometrical form. The ex-construction and deconstructive expression show significance in some characteristics such as folding, inclination, and geometrical explosion. The free form and nonlinear expression tend to increase dramatically based on the development of structure technology as well as execution and introduce of the digital design technique.

• Journal of Fashion Business
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• v.21 no.3
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• pp.1-13
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• 2017

Ralph Rucci, the first American designer who presented official collections at Paris Couture since Mainbocher, is known for his innovative dressmaking techniques and sculptural forms. Accompanied by literature survey, this study examines the aesthetics of Ralph Rucci's designs by content analysis of his works, Rucci's designs since his debut collection of 1994 until he left the Chado Ralph Rucci label in 2014 and his returning collection under the new label, RR331, in 2016. Ralph Rucci developed his creative designs by the following strategies: First, he reinvents the couture tradition of Balenciaga and $Gr{\grave{e}}s$ into progressive and functional American couture in that he gives consideration to a wearer's movements and comforts. Second, Rucci constructs architectural volume based on human anatomy and architectonic strategies, with the attention to three-dimensional quality of the space built between the body and a garment. Third, he conducts engineered construction summarized by his original 'suspension' techniques, which function as both ornamentation and construction.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.199-209
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• 1997

The purpose of this study is to find major factors which are influential in visual preferences of pergolas and shelters. 33 pergolas and shelters were selected for the study by slides test method. Major findings of this study are summarized as follows. 1. In the degree of visual preferences, pergolas and shelters which are traditional Korean ones in harmony with surrounding environment, and provide sculptural effects, unique images and shade, obtain relatively high scores. 2. The result of factor analysis showed that [dimensions] of visual preferences factors for pergolas and shelters were composition and use and place. 3. The result of regression analysis indicated that the best predictors of visual preferences for pergolas and shelters were atmosphere, aesthetics of form, harmony with surroundings, unique image etc.

• Journal of the Korean Institute of Educational Facilities
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• v.1 no.1
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• pp.63-75
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• 1994

This study aims to establish an analogy of presenting facade of elementary school in order to express a formal manifest in accordance with children's aesthetic sense and also to provide a better visual environment for children. The results of the study are as follows: 1) Formal expression of elementary school should be carried out primarily on harmony and unity, and based upon these, ideas of the architect should be applied. 2) Formal meaning of volumes and spacious feelings that are analogized in facades and masses of elementary schools should consider factors like the number of classrooms, sitescale. Volumetric sense should be composed as to induct coziness, conciseness, corresponding with conscious characteristics classified by grade. 3) Characteristics of presented meaning should be based upon humanistic intimacy, at the same time visually expressing characteristics of sculptural value and rationality.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.21-30
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• 2007

Frank O. Gehry is known to be an architect whose work ranges over different realms, especially between fine arts and architecture. He himself mentioned about this interdisciplinary aspect of his own work: he was inspired by, worked together with, and sometimes directly influenced by contemporary artists. Among the artists, the most influential ones are the sculptors, especially Richard Serra of Post-Minimalism and Claes Oldenburg of Pop Art. Based on this historically known fact, although very brief, this study explores how the features of Post-Minimal sculpture were transferred into Gerhy's architecture, and how Gehry has developed them into his own language. In Post-Minimal sculpture, the main concept 'Anti-Form' was realized by emphasis on materiality, process and intuitiveness of work of in. Those features appeared vividly in Gehry's works especially in his second stage of his life, but seemed to have disappeared in the third stage. However, in the fourth stage, Gehry went beyond the influence of Post-Minimalism, and he created very unique formal language dialectically formed between Post-Minimal sculptural language and his architectural language.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.33 no.4
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• pp.158-164
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• 2023

The meaning of the diamond crystal structure and the formative beauty of the crystal form were designed from a new perspective and expressed in jewelry. In this study, we examined the literature on the crystal structure of diamonds and analyzed cases of jewelry design based on the formative characteristics of diamond crystal structure. we newly interpreted the meaning and value of diamond crystal structure, and studied the figurative design that can show the aesthetic effect of the crystal structure by designing the diamond crystal structure as jewelry. By presenting jewelry designs that take advantage of the symmetry effect of the diamond crystal structure and the repetition of the sculptural beauty, we hope that the fundamental beauty and cultural meaning of gemstones will be re-recognized.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.