• 한국가구학회지
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• 제14권2호
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• pp.53-61
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• 2003

Wharton Esherick (1887-1970) is the pioneer of the Studio Furniture movement which was emerging after the Second World War in the United States. As Esherick began to work on his studio at Paoli, Pennsylvania from 1926, he became enormously influential in the Stuido Furniture movement until his death in 1972. He was connecting the English Arts and Crafts ideal to the post-war craft revival. As the work of William Morris did, in the period of consumerism Esherick's furniture gave a chance to purchase unique furniture to people who wanted a different taste. Not only his furniture is unique and hand-crafted also has sculptural quality which made his followers to see furniture as a different possibilities. His work was influential to the people who followed him after the war such as Arthur Carpenter, Wendell Castle, and Sam Maloof. In the roots of the craft revival, it is hard to underestimate the contribution of Esherick's notion of sculptural furniture.

• 한국가구학회지
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• 제13권1호
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• pp.49-59
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• 2002

The studio furniture movement that expanded in the United States after the Second World War was truly American creation representing highly sophisticated individualism versus industrial anonymity. The studio furniture movement can be traced back to the 1930s in terms of its influences and emergences. Based on the ideals of Arts and Crafts movements from the earlier decades, studio furniture movement emerged in the 1950s in reaction to Bauhaus inspired industrially produced furniture. Studio furniture has represented an alternative for people who wanted individual objects in their homes rather than industrially produced products. Opposed to plastics and industrial materials, artists in studio furniture mainly focused on one natural material, emphasizing its singular beauty. There were significant roles and influences of craft education along with Scandinavian influences in terms of spreading out the movement. A historical examination of furniture from the 1930s until the 1960s illustrates how this significant movement began in the mid-century.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권3호
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• pp.371-381
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• 2017

본 논문에서는 인간 움직임에 관한 이론들 중 현대무용 이론가인 루돌프 폰 라반(Rudolf von Laban)의 움직임 분석(Laban Movement Analysis)을 중심으로 추상 애니메이션의 제작 방법론을 소개한다. 라반의 이론은 다양한 인간의 움직임들을 묘사하고 시각화하고 해석하고 문서화하기 위한 도구와 언어를 모두 포함하며 그 중 공간조화이론인 코레우틱스(Choreutics)는 고대로부터 정의된 자연의 보편적인 패턴과 자연의 일부인 인간의 보편적 디자인에 기반하고 있다. 라반은 근본적으로 움직임의 공간을 이원론적 방식으로 정의하였는데 외형적으로는 점, 선, 면, 다각형, 그리고 선형, 비선형 움직임과 같은 기하학과 모션 프리미티브의 관점에서의 객관적이고 과학적인 정의를 통해 컴퓨터 그래픽스에서 인간의 움직임을 생성하기 위한 구체적인 기반을 제공하였다. 또 한편으로는 움직임의 내적인 의도와 관련하여 나타나는 역동적 운동성의 미묘한 특징들을 이해할 수 있는 시스템을 제공하였다. 라반의 해석은 다양한 시각적 분석방식을 통해 조형예술과 컴퓨터 아트 양쪽 분야에서 활용될 수 있는 잠재적인 가치를 지니고 있다. 본 연구는 움직임에 대한 신체적, 심리적 분석에서 영감을 얻었으며 추상 애니메이션을 제작하기 위해 컴퓨터 알고리즘을 개발하였다. "코레오그래피(Choreography)"라고 명명된 일련의 컴퓨터 애니메이션 작품들은 문화체육관광부와 한국공예·디자인문화진흥원이 주최·주관한 "2015 공예트렌드페어(Craft Trend Fair)"의 주제관 <손에 담긴 미래>와 2016년 주영한국문화원의 "움직임을 만드는 사물(Make Your Movements: Korean Contemporary Objects)"등 다수의 전시에 소개되었다. 본 논문에서는 라반의 움직임에 관한 표현을 기초로 추상적 조형요소들의 움직임을 제작하기 위한 아이디어와 방법들을 설명한다.

• International Journal of Human Ecology
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• 제8권2호
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• pp.107-125
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• 2007

In human history, scarf has acted not only as a protection for body but also as a symbolization of class. Today, scarf has become a whole field in fashion and an important accessory to express individuality in fashion. Hence, like other fashion item, it is very important to develop exclusive design for scarf by analyzing the current fashion trend. In this research, we have designed a scarf textile, accordance with the contemporary design trend, applying the floral pattern, designed by William Morris who was an artist considered as the founder of the 1800s arts and crafts movement. We selected four trend themes, "Salon de Archives", "Eco Tech", "Profound Nature", and "Neo Aristo" for the design of 2007/2008 Fall/Winter. The flower motifs in Pimpernel Wallpaper, Honeysuckle textile design, Acanthus Wallpaper, Garden tulip wallpaper, Evenlode printed cotton, Trellis Wallpaper, and Chrysanthemum Wallpaper, by William Morris who expressed an image of environment friendly and nature reversion, applied to develop new creative scarf through design after modifying and rearranging these flower patterns. After the pattern was drawn by hand, adjusting of color and repeating of the design was done with DTP (Digital Textile Printing). Through this research, the researchers hopes to be of assistance to the development of national scarf brand design, and to the recapturing of textile industry that once played a important role in Koreans economic development.

• 한국실내디자인학회논문집
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• 제23호
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• pp.34-40
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• 2000

In modern period, the houses are the most outstanding works by architects in which they develop their architectural identical theory and new color design concept has been established with the appearance of modern new art. This study is to summarize and analysis the characteristics of color design in 9 outstanding modern houses according to the historic artistic period, from 'arts and craft movement' to modernism. The result will re-analyze theory on the history of modern houses and support the identity of the modern houses. The research method is based on book review and in detail, the analysis on color design were proceeded by comparison with color picture of interior space of the houses.

• 한국가구학회지
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• 제19권5호
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• pp.328-340
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• 2008

This study examined the characteristics of furniture design in the early Modernism that occurred in the early 20th Century through the relationship with modern arts. The furniture design of the early Modernism was established in the early 20th Century based on the simplicity and honesty of the Art and Crafts Movement and Anti-Historicism in Art Nouveau. During this period, the necessity of mass production became critical due to the radical industrialization and new social demands. In such periodic stream, the furniture design of the early modernism pursued simplicity and geometric beauty based on functionalism. The efforts to discover the fundamental structure of furniture were intensified. It was not limited to furniture design but was also exercised in the huge periodic transformation that progressed in every field of art including architecture. The Modernism art has also been connected to Cubism and spread into an abstract direction. While questioning the potential essence and progressing the study on genuine characteristics, the Modernism art tried to return things into their substantial looks and reorganize them conceptually, rather than reproducing external objects. The furniture that was secondary to a part of architecture and interior accessory transcended its decorative purpose. It pursued the structure to follow its fundamental purpose as furniture. Such tendency corresponded to the direction that Post-Modernism followed. Likewise, both art and design had the revivable and abstract characteristics based on the identical objective in ideology. For this reason, the formative and geometric characteristics of the early modernism furniture design have a mutual relationship with modern arts. Particularly, such tendency intensified and progressed through the Bauhaus in Germany. Based on such facts, this study proved that the early Modernism furniture design in the 20th Century tended to appear in common arts including the art and design according to the social demand of the huge periodic stream. Furthermore, the ideology that was adopted in art and design, as well as its formative characteristics, was examined through the mutual relationship of modern arts and design.

• 복식
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• 제67권2호
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• pp.52-67
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• 2017

This is the precedent study on the modern fashion design using Korean emotions, and its aim is to study the expressions in the modern fashion based on 'Jeong-Jung-Dong' idea from Korean dancing, which implicates the Korean emotion deeply among the artworks and give essence similar to the clothing. 'Jeong-Jung-Dong', a unique idea, in the Korean traditional dancing is the philosophy that involve the paradox expression, 'Movement in Silence,' which represented the emotion of Korean dancing for a long time. The main characteristics deducted in 'Jeong-Jung-Dong' were 1) the incomplete and complete by atypical, 2) the beauty of temperance by symbolism, and 3) amusing mutual relationship. Upon the analysis results of previous studies on the expressions in the modern fashion with 'Jeong-Jung-Dong', they demonstrated the atypical expressed by metaphor, symbolic expression through margin, and mutual relational table by harmony. The analysis of modern fashion expression by 'Jeong-Jung-Dong', which is a philosophical idea in the Korean dancing, could highlight the new way of looking at the clothing and systemize the theory on the Korean emotion to seek the effective expression of artistic features for the culture together with introduction of our unique emotion in the creative design process by understanding of humanitarian and philosophical ideologies to be utilized in the future Fashion Design.

• 한국의류산업학회지
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• 제16권2호
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• pp.196-207
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• 2014

This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.

• 한국언론정보학보
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• 제82권
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• pp.73-103
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• 2017

이 연구는 메이커 운동과 관련된 단행본, 정책 보고서, 기사 및 칼럼 등을 비판적 담론 분석의 관점에서 살펴보며 메이커 문화를 둘러싼 담론적 지형과 사회적 실천을 분석한다. 정부 주도의 메이커 운동은 제작 문화를 경제 위기를 극복할 수 있는 '창조 경제'의 원동력으로 의미화하고, 디지털 제조업의 창업을 정책적으로 진흥하고 있다. 서울시의 경우, 정부 주도의 경제주의적 메이커 운동을 비판하면서, 기술을 통해 사회 문제를 해결하고자 하는 '디지털 사회 혁신'으로 메이커 운동을 제도화한다. 문화 예술계에서는 메이커를 장인 노동이나 손노동과 같은 '창조적 장인'으로 간주한다. 또한 지배적인 기술 구조에 대한 대항으로서 '비판적 제작 활동'을 구축하고자 하는 저항의 움직임도 있다. 하지만 지배적 담론이 현실적인 차원에 미치는 권력 효과와, 대항적 담론 투쟁으로 인한 지배 구조의 균열을 섣불리 확신할 수 없다. 현재 진행 중인 메이커 운동은 지배적인 권력 구조와 접합되어 제작 문화를 사회적 경제적 가치로 이끌어 내고자 하는 담론 전략과, 이에 대한 문화적 기술 정치적 가능성을 중시하는 대안적인, 혹은 대항적인 의미화 실천이 경합하는 갈등과 투쟁의 장이다.