• 한국실내디자인학회논문집
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• 제21권2호
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2002년도 봄 학술발표회 논문집
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• pp.50-51
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• 2002

• 영어어문교육
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• 제18권1호
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• pp.45-68
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• 2012

This study aims to investigate the different opinions about feedback given to high level Middle School students about their writing.18 students in the Gifted Program participated in the study. They were divided into three groups through their presurvey answers according to their language learning opportunities and genders. Students language self-assessment was compared with achievement as well. Three times of students' written work were collected. They then received feedback from the teacher and their two peers respectively. With the teachers' and peers' feedback, they completed their final draft. The study then examines how much the students take feedback practically from the different feedback givers. Examples of formative and corrective feedback were arranged to find out the differences in the students practice when giving and taking feedback. These Gifted class students showed that they didn't care much about who gave them the feedback, instead they cared more about how much language competence they presumed the feedback giver had. Implications of the findings are discussed and future study is suggested.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.153-161
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• 2004

Organic Modernism was inaugurated by Alvar Valto as an alternative plan to the formative limitation of Geometrical Modernism. It began to appear in the 1930s in the fields of Architecture, Furniture, Product Design and so on. It is known that began with organic formative language is closely related to surrealistic artists Andre Breton as well as other artists and sculptors in that era. Such Formative Language formalized a stream of Organic Modernism Furniture Design unique to the regional and cultural characteristics of Scandinavia. After crossing over to America, mass production of Furniture was born and new materials were linked by industrialization. The Characteristics of Organic Formation in Modern Art such as Three -Dimensional, Biological Morphological, Symbolical, Primitive, Fantastical, Non-Realistic, Incidental, Irregular, transmit to Furniture Design. They are as Characteristics especially with Three-Dimensional, Biological Morphological and Symbolical aspects. Histories of Art and design, there are some examples showing mutual Interchange between Functional and Artistic Character. This thesis also clarifies the Formative Relationship that the Furniture designers who pursued Functionality and Mass Production had obtained from Modern Artistic works and the Artists, through the process of comparing and researching the typical Artists and their works.

• 한국가구학회지
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• 제24권1호
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• pp.42-50
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• 2013

The objective of this study is to explore basic type of character of humans and to suggest a design method of establishing a spatial construction environment for developing effective learning ability based on such type of character. As a range of research, spatial formative language was deduced and space design strategy for the children was suggested through an analysis of spatial requirements by exploring connectivity depending on features of 9 types of character through Enneagram. As a method of research, a process of suggesting a concrete method after defining an element of spatial construction and deducing a formative language for developing and strengthening effective learning ability for each type of character. As a result of research, the methods of children space design strategy for enhancing learning ability for leadership in a future specific fields were suggested through 9 different type of character with image of case study.

• 디지털융복합연구
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• 제19권2호
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• pp.415-423
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• 2021

본 연구는 20세기 이후 다원화된 사회의 모습을 담아냈던 1980년대 멤피스 디자인의 작품들을 분석하고 이를 바탕으로 한 실내 조명등의 조형화 작업으로 대중과 함께 소통할 수 있는 실용 가능한 디자인을 제시하는 것에 그 목적이 있다. 연구 방법으로는 멤피스 그룹의 발생 배경, 멤피스 디자인의 이론적 배경과 조형적 특징을 문헌 및 선행연구를 중심으로 고찰하였다. 이를 기반으로 본 연구에서는 멤피스의 조형적 특성과 색채, 패턴을 응용하여 새롭게 조형화된 디자인을 조명등에 접목시켰다. 기본 도형에 작은 변화를 준 형태들의 조명등은 그것의 기능성과 장식성에 그치지 않고, 인간 내면에 간직된 감성을 들려주는 조형언어로의 확장성을 보여준다. 또한 작품제작에 있어 조형적 변화에 따른 재료의 선택은 새로운 조형예술의 창작 가능성을 제시해 줄 것이다.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.154-161
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• 2004

When people visit other countries, the first place to go would be either a museum or an art gallery because it might be the most effective way that people could understand culture and history of the place in a short time. It can be alleged that a museum must be an important cultural space because people can experience their life, history and art there. According to these cultural importance, the purpose of this study is to suggest the environmental design of $\boxDr$Design Museum$\boxUl$ through the Transparency of the Cubism. The Transparency means a capability of transmitting light so that objects on the other side can be seen clearly. The Concept of the Transparency could be taken effects in architecture by overlapping facets or space. By understanding formative properties of the Cubism, which especially focused on Transparency, 1 would like to propose the environment as an art and the exhibition-environment as a way of communication. As it were, the study can be valued as a new approach on condition that formative feature is interpreted with modern terms and the ‘Digital technology’ is not used a tool of representation but a tool of thought in terms of design. Moreover, it has a great significance that formative language of the Cubism will be able to be applied to the environmental design through the experimental and creative design process.

• 한국가구학회지
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• 제10권2호
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• pp.37-53
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• 1999

On the turning paradigm in the early part of the 20th century, the change of behavior patterns naturally had influence on arts based it. Also the furniture designs was formed new style by interaction between paintings and sculptures and architectures. In this study, it was focused on Art-Deco movement that was started in 1920's France and was widely developed. Besides it was found out principles and characters of this style, and was made analysis and sense of the characteristic about formative language of Art-Deco on the relation with contemporary fine art and architecture. As the result, the origin of Art-Deco is characterized by three categories : abstraction, mystery and symbolism. The Art-Deco furniture design symbolized by the desire to pursue both splendor and elegance is French style pragmatism in progress toward Modern design.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.61-68
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• 2004

Contemporary Architecture stands on the basis of the influence of the formative arts, and it carves out a new field of architecture through various technical or material expressions. Herzog ＆ de Meuron, whose has been recognized internationally, are one of few artists following this Contemporary architectural flow. This thesis analyzed his work of art by the trend of times, and base on the results, tried to find his architectural language. Three points have been concluded through this architectural thesis. The architectural language does not deal with our monotonous environment, but deals with it technically. It's expressed all the architectural factors that we already know and used through new ways, so that, finally, it makes people feel the work of art in different point of views. I desire more future researches will focus on the many types of architectural and interior design languages that the Contemporary society craves.

• 한국콘텐츠학회논문지
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• 제7권4호
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• pp.250-258
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• 2007

타이포그래피는 언어와 조형의 결합이다. 언어의 이해와 조형적 가치를 통한 인간 커뮤니케이션의 핵심적인 수단인 것이다. 가장 기본적인 역할인 정보의 전달과 공유에서 장애요소로 나타나는 '언어의 반작용' 현상을 극복하고자 여러 가지 기법을 도입한 연구가 시작되었고, 보다 가독성 있고 의미전달력에 있어서도 효과적인 움직이는 활자를 개발하여 보편화되기에 이르렀다. 그러나 그것은 컴퓨터 모니터나 영상화면, 그리고 휴대전화 액정 등의 영상 디지털 미디어에서는 실현이 용이하나, 전통적 정보전달 매체인 인쇄지면이나 주변 환경에서 흔히 접할 수 있는 빌보드, 사인보드 등에서는 사실상 표현이 어렵다. 이를 위한 하나의 해결 방법으로 메시지 전달력이나 가독성에서 기존의 정적인 타이포그래피보다 훨씬 강력한 소구력을 가지는 동적타이포그래피에서 표현의 핵심요소인 시 공간적 표현효과에 대응하는 시각적 의미전달 체계를 색채의 본질과 특성에서 접근하여 동적표현에 근접한 커뮤니케이션 효과를 창출하고자 한다.