• Archives of design research
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• no.16
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• pp.65-74
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• 1996

It IS of great significance that russian artists created their own avant- gard arts, based on russian traditional culture comprehending new artistic trend from the Western Europe. After ttle Russian Revolution, russian artists participated voluntarily to the change of sOCIety. They were heading for the reach of socia 1st's utopia in the field of culture (painting, movie, architecture, play etc) Therefore , new socialist's society needed artistic Institution like the Vchutemas. The aim of thiS school IS to prepare highly educated artists to Instruct and direct In professional and technic education. RUSSian avant-gard artists gave lessons about the new didactics of the Vchutemas on the principals of ConstructiVism and Functlonlsm. They Influenced the Bauhaus school and western european designs.

• Computers and Concrete
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• v.11 no.5
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• pp.383-397
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• 2013

Two-dimensional tensile stresses are occurring at the back of the anchorage of the tendons of prestressed concrete bridges. A new method named "tensile stress region" for the design of the reinforcement is presented in this paper. The basic idea of this approach is the division of an anchor block into several slices, which are described by the tensile stress region. The orthogonal reinforcing wire mesh can be designed in each slice to resist the tensile stresses. Additionally the sum of the depth of every slice defined by the tensile stress region is used to control the required length of the longitudinal reinforcement bars. An example for the reinforcement design of an anchorage block of an external prestressed concrete bridge is analyzed by means of the new presented method and a finite element model is established to compare the results. Furthermore the influence of the transverse and vertical prestressing on the ordinary reinforcement design is taken into account. The results show that the amount of reinforcement bars at the anchorage block is influenced by the layout of the transverse and the vertical prestressing tendons. Using the "tensile stress region" method, the ordinary reinforcement bars can be designed more precisely compared to the design codes, and arranged according to the stress state in every slice.

• Archives of design research
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• v.14
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• pp.209-219
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• 1996

The BAUHAUS started as the purpose of training the people who are designers in the industnal society or who have artistic talent as architect, handicraftman, sculptor, and in the construction, it was based for entire organizational training for every handicrafts in the aspect of the art and form. The preliminary course that became the generative power of the human training that have possessed creativity was studied and put in to practice through the formative activity of dIverse form and method according to the educational idea and the educational method of the teachers who are in charge of such edudation, and common access method that forms the fundamental basis was centered not only human being as a formative principle, and analyzed thoroughly with biological function and further until mental and philosophical part but served and thought synthetically and took principal objects at the formative practice. Together with this, the characteristic structure of the BA UHA US's formative education was taking the grouptherapy educational method where there was not distinguish teacher and student and through the liberal criticism and they realize by experience themselves that how to solve the certain subject and pursue the form by compare each other's solutions.

• Archives of design research
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• v.11 no.1
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• pp.199-207
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• 1998

The foundation courses of industrial design from Bauhaus to today is, a delivery room of modern industrial design, played an essential role of the image formation in the current German design. In the foundation courses of industrial design that is required in our society, not only the concept gestalt should be understood, approached to industrial design through the integrated meaning of science and culture. In this paper, the historical establishment background of gestalt universities that contributed enormously to the development of German industrial design was analyzed, and then tried to understand the fundamentals of German design education. Also the results of the foundation courses at Bauhaus, Vim university and current German gestalt universities are compared to the products, which illustrates a typical German Image. With this comparison, the importance of the role of the basic design education was recognized, and using the results the necessary direction of the foundation courses in Korean industrial design was presented.

• Journal of the Korea Furniture Society
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• v.17 no.2
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• pp.69-79
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• 2006

German furniture design had been downward in trend after Bauhaus closed and through the War. Meanwhile Italy emerged as a center in furniture industry after the Second World War. After the Unification in 1989, however, German furniture still play predominant role in the world since they have their own unique quality and territory. This study explores the significance of German furniture design by three different eras-Post-war recession (1946-1965), Arising times (1966-1989), Contemporary (1990-2005)-and categorized the major characteristics are summarized as in the below. First, function oriented design Second, pursuing perfection of technology Third, simplicity and purity of design.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.77-83
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• 2009

Van Doesburg founded the magazine De Stijl with Mondrian in 1917. De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy. De Stijl proposed ultimate simplicity and abstraction by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. Vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements In 1924 their different concepts about space and time were split between Van Doesburg and Mondrian. Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism. The works of De Stijl would influence the Bauhaus style and the international style of architecture.

• Journal of the Korea Furniture Society
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• v.13 no.1
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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.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.16-22
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• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

• Advances in nano research
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• v.7 no.2
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• pp.135-143
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• 2019

The important effect of porosity on the mechanical behaviors of a continua makes it necessary to account for such an effect while analyzing a structure. motivated by this fact, a new two-step porosity dependent homogenization scheme is presented in this article to investigate the wave propagation responses of functionally graded (FG) porous nanobeams. In the introduced homogenization method, which is a modified form of the power-law model, the effects of porosity distributions are considered. Based on Hamilton's principle, the Navier equations are developed using the Euler-Bernoulli beam model. Thereafter, the constitutive equations are obtained employing the nonlocal elasticity theory of Eringen. Next, the governing equations are solved in order to reach the wave frequency. Once the validity of presented methodology is proved, a set of parametric studies are adapted to put emphasis on the role of each variant on the wave dispersion behaviors of porous FG nanobeams.

• Archives of design research
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• v.16 no.4
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• pp.413-422
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• 2003

In the early 20th century, the efforts for design standards for industry and the new aesthetic of Functionalism began from the Deutcher Werkbund, an English German Association of Craftsmen. In the similar vein, the Bauhaus, founded in 1919 at Weimar, provided the definition of Good Design, as a contemporary concept, that combines art with technology. From 1950 to 1955, the modern usage of the term 'Good Design' was derived from a series of exhibitions and consumer education programs conducted by the MOMA(Museum of Modern Art, New York). The mission was to bring modern design to the attention of the general public. From the second half of the 20th century, many specialists in different areas, such as designers, manufacturers, enterprises, and scholars, began to give various definitions of 'Good Design'. That's why it could be interpreted and applied to unique and various methods by them. Meanwhile, Rams and Norman argued that the Good Design has to be not only considered within function, aesthetic, technology, etc, but also interpreted from both the physical and psychological point of views. Accordingly, this study tried to find out the historical investigation and the definition of Good Design in detail, and to figure out that the user-centered design from both physical and psychological approaches is eventually synonymous to 'Good Design'.