• 한국실내디자인학회논문집
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• 제25권4호
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• pp.35-42
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• 2016

The purpose of this study is the analyze the spatial structure and housing component of the prairie style house of Frank Lloyd Wright during the Prairie Era which is between 1893-1910. The research results can be summarized as follows 1) In spite of European style influences which were fashionable at the time, Wright tried to attempt altering the space and form of his works (houses) from his unique architectural style. 2) All solid walls which are usually inside the square prairie and the cross floor plans were removed for interaction between the outside and inside spaces in a house creating an organic space. So the inside space of the house feels wider than the original space because of the available natural light. 3) Frank Lloyd Wright's early works were similar to the homes built at that time. However, as time passed, he remembered and was influenced by the Frobel's educational system blocks he played with as a child as well as the surrounding Midwestern USA prairies where he grew up. 4) The early prairie floor plan was square divided into nine equal parts which is classic floor planning. Wright, however, created his new unique architectural style. His style has developed into the prairie style and various floor plans. 5) Wright introduced a 3-dimensional architectural form of composition (cantilever, long eaves, etc.) to express symmetry and horizontal lines of the house. 6) Rather than emphasizing vertical lines in his works, Wright began emphasizing more horizontal lines like the horizontal lines of the actual prairies. This meant the surrounding environment of a house is always in nature.

• 대한수학회논문집
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• 제34권1호
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• pp.203-211
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• 2019

In this note, new sharpened Redheffer type inequalities related to the Fox-Wright functions are established. As consequence, we show new Redheffer type inequalities for hypergeometric functions and for the four-parametric Mittag-Leffler functions with best possible exponents.

• 건축역사연구
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• 제14권3호
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• pp.89-102
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• 2005

Frank Lloyd Wright and Mies van der Rohe are two of the most influential architects in modern architecture. In spite of the different values in their architectural lives, the design of high-rise building had been a continuous matter of primary concern for them. The purpose of this study is to compare the architectural characteristics of the two master architects in terms of building form, structure, function, and envelop skin. glass. Both of them shared with the principle of organic architecture even in the design of high-rise buildings. However, the specific approaches to realize it in high-rise buildings are significantly different. Although they emphasized the integration of building form and structure, Wright regarded the reinforced concrete structure as an organic form-giver, while Mies introduced the steel skeleton structure only as an efficient and flexible building frame. As primary finishing materials for high-rise buildings, glass was used for functional purpose by Wright, but for visual purpose by Mies.

• 한국실내디자인학회논문집
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• 제17호
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• pp.181-186
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• 1998

Grid serves as an auxiliary instrument that explains design logically and objectively when you designing an interior. But grid is unacceptable to the space which is produced by designer who wants to express a design subjectively. Because grid makes usual and standardized space without flexibility. Changing and developing a fundamental unit with modern touch is going to be a way compensate for the weakpoint Also versatile grid unit can support the designer's subjective intention. This study focuses on the limits of Wright's house which show interior space aestheically through grid planing. In this paper Wright's uniqe interior space pattern will be examined through the selection of some of his works specifically the Prairies and Usonians whose transforming is noticable as Wright house and analysis about formation process of grid planning characteristics and spaces is continued. With all this analysis I'm, going to look over Wright's philosophy and pattern that is usually intended by his grid planning.

• 한국실내디자인학회논문집
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• 제16권3호
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• pp.3-9
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• 2007

Taliesin West is a meaningful historic site in architecture field, because its place had still been existing only one in the world as a ideal architectural community for working and living as well as learning by doing for Taliesin Fellowships and others based on F. L. Wright's idea of Organic Architecture. The main purpose of this study was to follow up the architectural thought and its construction shown in F. L. Wright's 'Taliesin West'. A study on the key notes are as follows; 1) The key-clue of the construction background for Taliesin West was based on the project of 'Complex Campus Building' which was early planed by F. L. Wright. 2) A basic design idea for Taliesin West was admiring from its own site characters as well as the Experimental construction methods and materials. 3) Design motive of Taliesin West was based on American Indian's movable shelter which called 'Tepee.' 4) A construction of F. L. Wright's temporary studio, Ocotilla, was a good opportunity to construct for Taliesin West which construction methods, covered and framed, were same as Ocotilla. 5) A concept idea of the master plan for Taliesin West came from combining Taliesin's Hillside Home School and Complex Campus Building project. 6) Construction of Taliesin West was a final accomplished place as F. L. Wright's utopia architecture and community.

• 대한건축학회논문집:계획계
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• 제34권4호
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• pp.95-102
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• 2018

In this study, existential thoughts in Frank Lloyd Wright's notion of nature were investigated. Wright, a modern architect, presented the idea of creating organic architecture in harmony with nature. His naturalistic romanticism is considered to be the original inspiration for his concept of organic architecture. However, his understanding of architecture in harmony with nature stems from existential ideas in his notion of nature, including humanity. The proposed study analyzes his existential beliefs through his speeches and writings in four categories-love of nature, thoughts of abstract and concrete, nature as being intrinsic and "becoming," and thoughts on science and art. Our analyses reveal that, on the one hand, Wright was inspired by thoughts of naturalistic romanticism born from his disillusionment with city life and an urge to seek life in nature, while, on the other, he also believed that real nature is intrinsic to humans and manifests itself in the very core of their being. He sought to unite humanity, as the interior of nature, with its physical environment, as the exterior of nature. His notion of nature is a "becoming" one that changes with time and space, and varies based on individual humans. In line with these thoughts, Wright sought to create forms not only with respect to mathematical dimensions, but also in consideration of human significance. He considered art and architecture to be born out of an integral thought as a process of humanization. To him, nature is interpreted by humans.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• Tuberculosis and Respiratory Diseases
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• 제50권3호
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• pp.310-319
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• 2001

연구배경 : 천식의 치료에 널리 사용되고 있는 호기유속측정기는 외래환자와 응급실에서뿐만 아니라 입원 천식환자들의 치료 및 경과 관찰에 매우 유용하다. 호기유속측정기에 대한 정확도 및 재현성에 대한 많은 연구가 있어왔으나 기류폐색을 가지는 환자를 대상으로 측정했을때의 정확도에 관한 연구는 드물다. 따라서 만성폐쇄성폐질환 또는 천식을 가지는 환자를 대상으로 잘 보정된 mass flow sensor의 최대호기유속 측정치와 mini-Wright peak flowmeter의 측정치를 비교하여 정확도를 관찰하고자 본 연구를 계획하였다. 방 법 : 천식 및 만성페쇄성폐질환으로 진단된 환자 108명을 대상으로 흡입용 기관지확장제 사용 전 후의 최대호기유속을 측정하였으며 잘 보정된 mass flow sensor로 측정한 후 mini-Wright peak flowmeter를 사용해서 최대호기유속을 측정하였다. 결 과 : 천식 및 만성폐쇄성폐질환 환자에서 mini-Wright peak flowmeter로 측정한 최대호기유속 값은 기관지 확장제 사용 유무에 관계없이 mass flow sensor의 측정치보다 평균 37-39 l/min 높게 관찰되었고 300 l/min 이하의 범위에서 오차는 25% 이상이었고 301 l/min 이싱에서는 17% 이하로 관찰되었다. 두 기기로 측정한 값의 일치도를 평가할 수 있는 편의(bias)는 전체를 대상으로 했을 때와 유속의 정도에 따라서도 모두 일치범위를 벗어나고 통계적으로도 유의하게 차이가 있었다. 결 론 : 천식 및 만성폐쇄성폐절환 환자에서 mini-Wright peak flow meter로 측정한 최대호기유속은 mass flow senor의 측정치보다 높게 관찰되었으며 300 l/mm이하의 유속에서 오차가 심했다. 두 기계로 측정한 최대호기유속 사이의 일치범위는 95% 신뢰구간에서 통계적으로 유의한 차이가 있었으므로 mass flow sensor 와 mini-Wright peak flow meter로 측정 한 결과를 상호교환적으로 사용할 수 없다고 판단된다.

• 대한수학회지
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• 제11권1호
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• pp.49-51
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• 1974

• Kyungpook Mathematical Journal
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• 제31권2호
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• pp.143-150
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• 1991