• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.68-76
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• 2006

Founding himself on 'The Principle of Self-making' that is the instrument of 'the natural construction' and accomplishing the various interdisciplinary researches, Frei Otto could explicate the fundamental structure of life that is able to make visible the self-making processes in the nature, the technique and the architecture. It is the flexible pneumatic construction that is grounded on the fibrous organization. This was a milestone not only for him who wanted to put the idea of the new architectural form into practice, but also for the contemporary architecture that faces on the style-pluralistic disorientedness. The architectural form of the natural construction includes in itself three constitutional sub-ideas. One of them is 'the adaptable architecture', which is inclined to the architecture similar to the organization of human body, and the other 'the light architecture' that is in the pursuit of the optimal form through the minimal material. The last one is 'the ecological architecture' that aims to realize the optimal dwelling environment based on the effective energy consumption by accumulating knowledges of the always fluid and unstable nature. With these architectural ideas Frei Otto could develop a new architectural form language 'the light architecture of the natural construction'. This study is purposed to explain the various experiments that were made by his team and the basic principles of the structural dynamics of 'the architecture of the natural construction' and then to analyze the structures that were built on the ground of those principles.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Journal of Korean Philosophical Society
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• v.137
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• pp.193-223
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• 2016

This research examines the recognition of nature as identified by Zhuangzi through the man of truth. Zhuangzi defines inactivity as an act of nature and personifies it as the man of truth, a holy man who achieves salvation. It is the stage that is united with nature by breaking out of secular restriction and achieving the absolute liberal spirit. The man of truth is the origin enabling all the acts of nature. And since the existence of all living things is connected, the change of life and death complies with the operation of nature. It is an irresistible destiny for all human beings. Therefore, the duty of nature recognizes the life and death of all creation into a single perspective. In this sense, the feelings of joy and sorrow that human beings feel are unnecessary. When following the duty of nature and destiny, which is to break out of secular desire and empty the mind, it is possible to go to the stage of futility and enjoy a silent and comfortable life. Zhuangzi explains it as living free from worldly cares, which is the stage of 'Soyoyoo(逍遙遊)'. In this thesis, the principles of courtesy and the virtue of Confucianism are stated and are contrary to the concept of futility asserted by Zhuangzi. But, a different approach could be attempted which recognizes a superman who is even more evolved from the man of truth. The philosophical ideology of Zhuangzi could be a necessary factor for modern people and his oriental natural spirit should be highly appreciated.

• Sijohaknonchong
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• v.30
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• pp.9-20
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• 2009

The purpose of this study is to consider factors such as one's sight of viewing afar, expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features, depth, and details of a mountain, seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately, viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm, and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea, and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions, which are high, horizontal, and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

• The Journal of Art Theory & Practice
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• no.1
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.68-77
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• 2011

In this research it is concentrated first of all on the attempts to reconstruct the historical context of the idea for the space design based on the natural construction and to re-appropriate il critically to the present context. Sequentially in the areas of philosophy, biology, neuroscience, and architecture it has been variously discussed on the problems about the synthesis of biology and techniques. In the context of the consilience of biology and technique Werner Nachtigall, who has intended to shed light on the morphological principles in the natural construction, founded the 'Bionik', which is different from the bionics or the biomechanics that are oriented to the imitation of natural forms. The space design that is on the basis of the Bionik treats organisms as a functional whole. Therefore the Bionik space design follows two kinds of principle such as the principle of analogy and the principle of optimization. After all the understanding of the consilience of nature and technique for Nachtigall and Bionik designers tends toward the explication of the complex process in which the human perceptions, the environment, and the phenomenal techniques are united together, and this complex process is associated with the space design based on the Bionik.

• Journal of the Korean Society for Nondestructive Testing
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• v.12 no.3
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• pp.7-11
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• 1992

Accurate measurement of green density of compacted part in the powder metallurgy industry is rather fundamental but extremely important process that decide the quality of the sintered part. In case of green sheet P/M product, the green density as well as the distribution of the density must be examined for the same reasons. Currently in most cases, density measuring process is being performed applying conventional Archimedes principles. However this method is not only time-consuming but also often inaccurate because of the inherent nature of the process, such as part sectioning, closing of surface porosity with wax and weighing in air and in water. Therefore, it is necessary to develop a faster and more accurate method to measure the density of green sheet P/M product. In this work, a nondestructive density measurement device using gamma-ray absorption principles was constructed and the optimum condition for measuring green density of P/M sheet and its distribution was sought. The results showed that this method was very effective in terms of measuring time and accuracy.

• The Journal of Fisheries Business Administration
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• v.45 no.3
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• pp.111-129
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• 2014

The main purpose of this study is to analyze the disputes concerning the 1982 moratorium on commercial whaling and the standing rights of other natural objects. Basically, the debates has arisen from the very nature of whales and other natural resources, that is to say, a mixed good of consumptive and non-use value. The debates between pro- and anti-moratorium states regarding whaling may not find out a peaceful solution without compromise or negotiation since any international institution for official settlements does not exist. If the pro-states could provide anti-states with a certain type of economic incentive which is side payments, anti-states might offer self-restraint not to whale. Here, it would be considered to apply Kaldor-Hicks compensation principles to this problem. Since 1965, some countries such as the United States and Japan began to recognize the standing right of natural objects. Even though rejected, the newt case in Korea was brought to the Supreme Court. If a standard of living increases significantly to a higher level(i.e. more than per capita income US$30,000), there would be a tendency of valuing natural objects and their beauty more and more highly.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.115-122
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• 2006

The purpose of this study is to investigate the design principles of organic integration on furniture design by Frank Lloyd Wright. He consistently pursued organic principles in interior design, furniture and equipments. He insisted that every elements of a building can be integrated into architecture as if architecture can be a part of the nature. The study surveyed and analyzed the examples of furniture design in Wright houses from the viewpoints of spacial and formal integration as well as organic evolution. The study finds the characteristics of organic integration on furniture design as follows. He designed built-in furniture as an important part of the house, which seemed to grow up from the architecture design and a part of a building. He also designed and arranged free-standing furniture as spacial device in open floor plan. Moreover, furniture design repeated same geometry, modules, and proportion system of house design in order to integrate Into the building. In addition, material and color of furniture follow those of architecture. Wright's furniture design had changed from heavy forms in his early prairie houses to light and practical shapes in his Usonian period.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.