• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.135-144
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• 2017

In addition to the well-known 'Frankfurt Kitchen', Austrian female architect Margarette $Sch{\ddot{u}}tte-Lihotzky^{\prime}s$ architectural achievements include a study on the housing for working class, contribution to the resident participation movement, the planning of multi-family housing complexes, rational floor plan design, and the design and study of interior spaces. The purpose of this study is to investigate how she, who played intermediate roles between an architect and a social reformer, reflected social issues and the demands of living on the housing plans in the Red Wien era and to discuss diverse issues of modern residential planning furthermore. In this study, first, the housing situation in Vienna immediately after World War I was grasped and the architectural and housing discourses at that time were examined. Thereafter, cases of $Sch{\ddot{u}}tte-Lihotzky^{\prime}s$ works were investigated and analyzed. In the period of transition to modern times, the concepts of residential planning of $Sch{\ddot{u}}tte-Lihotzky$, who began as a social democratic architect, often showed transitional tendencies in private and public functions of housing, spatial distribution for the daily life, and functions of modern family and home. However, thereafter, the paradigm of the rationalism-functionalism was already sprouting from her architectural and residential plans. In conclusion, it can be said that the works of $Sch{\ddot{u}}tte-Lihotzky$ has realized the social responsibility of residential planning and become a cornerstone of the later modern housing.

• Speech Sciences
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• v.10 no.1
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• pp.41-58
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• 2003

Coronal/non-coronal asymmetry refers to the typological trend wherein coronals rather than non-coronals are more likely targets in place assimilation. Although the phenomenon has been accounted for by resorting to the notion of unmarkedness in formalistic approaches to sound patterns, the examination of rules and representations cannot answer why there should be such a process in the first place. Furthermore, the motivation of coronal/non-coronal asymmetry has remained controversial to date even in the field of phonetics. The present study investigated the listeners' perception of coronal and non-coronal stops in the context of $VC_{1}C_{2}V$ after critically reviewing the three types of phonetic accounts for coronal/non-coronal asymmetry, i.e., articulatory, perceptual, and gestural overlap accounts. An experiment was conducted to test whether the phenomenon in question may occur, given the listeners' lack of perceptual ability to identify weaker place cues in VC transitions as argued by Ohala (1990), i.e., coronals have weak place cues that cause listeners' misperception. 5pliced nonsense $VC_{1}C_{2}V$ utterances were given to 20 native speakers of English and Korean. Data analysis showed that majority of the subjects reported $C_{2}\;as\;C_{1}$. More importantly, the place of articulation of C1 did not affect the listeners' identification. Compared to non-coronals, coronals did not show a significantly lower rate of correct identifications. This study challenges the view that coronal/non-coronal asymmetry is attributable to the weak place cues of coronals, providing evidence that CV cues are more perceptually salient than VC cues. While perceptual saliency account may explain the frequent occurrence of regressive assimilation across languages, it cannot be extended to coronal/non-coronal asymmetry.

• Journal of the Korean housing association
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• v.24 no.3
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• pp.121-133
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• 2013

The purpose of this study is to analyze the design characteristics of external appearances of Hundertwasser's housing projects through both literature review and field study, and to understand how Hundertwasser's architecture philosophy was embodied in the design of external appearances so such projects. The subjects of the analysis are: Hundertwasser House; In the Meadow Bad Soden; The Forest Spiral Darmstadt; and The Green Citadel Magdeburg. The conclusion of the study is as follows. The fundamental architecture philosophy of Hunderwasser is the close linkage between mankind and nature. He has proven, through his four housing projects mentioned above, that it is possible to build houses without destroying and in harmony with nature. Hundertwasser had identified vitality, irregularity and diversity as being the source of beauty of nature. Using the human creativity, he had embodied such elements into his housing projects, thus suggesting an ideal housing environment whereby humanity is respected. Hundertwasser made use of organic curved line and spiral shapes that exist in nature when designing his housing projects. His creativity was articulated through vitality, diversity, and irregularity in colour schemes and a wide range of form. Indeed, he was an architect pursuing the underlying nature of both human and nature. The current living environment in Korea can be characterized as being standardized and desolate, which is a result of housing projects being focused too much on functionalism. Through its analysis of Hundertwasser's housing projects, one of the objectives of this study is to contribute to a new design paradigm being called for today, including for housing projects to be more ecological and environmental-friendly. By motivating architects and appealing to their clients, this study hopes to motivate those involved in various housing projects to think progressively. Such an attitude change could assist in transforming and thus enhancing the overall living environment in Korea.

• Korean Institute of Interior Design Journal
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• v.25 no.2
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• pp.131-142
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• 2016

Rapid economic development has played a big role in the formation of the values of pluralism. On that account, the importance of leisure life has grown substantially, Such phenomenon has allowed people to travel more frequently. Hence, there has been a growing demand for accommodation. In particular, the number of design hotels with a stylish design has grown exponentially as compared with the conventional standardized chain hotels. As a result, a variety of objets have been utilized in hotel spaces for establishing a differentiated formativeness and offering a visual stimulus to users. An objet refers to an object of symbolic function. That is to say, it serves to increase cultural values by approaching arts in an ordinary environment. Distinctive objets are mainly expressed as new ideas by the emerging designers in Europe. In particular, Marcel Wanders designs hotel spaces on the basis of the emotional meaning and story of objets, thereby showing interesting elements. He brings human stories into a design by leveraging the expressional characteristics of an objet, such as the place, fantasy and story-telling, in hotel interior spaces. This allows users, who reject the stereotypes of modern functionalism, to have exotic memories by stimulating their instinctive senses. Furthermore, this can complete users as a part of an artwork by creating a huge artwork on the basis of hotel interior spaces. In this regard, I hope that the expressional characteristics appeared in the hotel interior spaces of Marcel Wanders can be utilized as preliminary data for planning design hotels in the future.

• Journal of Fashion Business
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• v.23 no.1
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• pp.14-24
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• 2019

Various types of functional bedding for inducing and maintaining sleep, are developed and launched with the importance of improving health through sleep emphasized currently. The purpose of this study is to examine development status and direction of functional bedding in the $4^{th}$ Industrial Revolution era, through systematic classification of elements of IoT-based smart bedding cases actively developed as functional bedding at home and abroad. Through previous research, literature and Internet data, characteristics and functional extension of smart bedding and the background of smart bed development was analyzed. And it was analyzed that smart bedding pursues recent functionalism and convergence of physical and digital concept such as IoT or AI, and also mental value to improve sleep quality. As bedroom where smart bedding place in has the private and limited characteristics and users are in sleep-conscious, that hard to ensure power and discomfort in carrying are moderated and the aesthetic elements are not very important, and that the smart bedding performance while sleeping were affected on developmental background. Based on CES case study and analysis on how smart beds are functionally expanded from conventional bedding, smart beds have gained information through digital sensing, and common properties that can be controlled anytime, anywhere, using a smart phone. Some set up the right environment and pose, while others stimulate nerves directly as active intervention. It is expected that smart bedding will be developed to cure user's body and mind, through active intervention when sleeping.

• Journal of Science of Art and Design
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• v.5
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• pp.87-129
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• 2003

The purpose of this thesis is to propose a new concept of design of the 21st century, on the basis of the study on the general signification of the structures and the signs of industrial product design, by examining the difference between modern and post-modern design, which is expected to lead the users to different design practice and interpretation of it. The starting point of this study is the different styles and patterns of 'Gestalt' in the post-modern design of the late 20th century from modern design - the factor of determination in industrial product design. That is to say, unlike functional and rational styles of modern product design, the late 20th century is based upon the pluralism characterized by complexity, synthetic and decorativeness. So far, most of the previous studies on design seem to have excluded visual aspects and usability, focused only on effective communication of design phenomena. These partial studies on design, blinded by phenomenal aspects, have resulted in failure to discover a principle of fundamental system. However, design varies according to the times; and the transformation of design is reflected in Design Pragnanz to constitute a new text of design. Therefore, it can be argued that Design Pragnanz serves as an essential factor under influence of the significance of text. In this thesis, therefore, I delve into analysis of the 20th century product design, in the light of Gestalt theory and Design Pragnanz, which have been functioning as the principle of the past design. For this study, I attempted to discover the fundamental elements in modern and post-modern designs, and to examine the formal structure of product design, the users' aesthetic preference and its semantics, from the integrative viewpoint. Also, with reference to history and theory of design my emphasis is more on fundamental visual phenomena than on structural analysis or process of visualization in product design, in order to examine the formal properties of modern and post-modern designs. Firstly, In Chapter 1, 'Issues and Background of the Study', I investigated the Gestalt theory and Design Pragnanz, on the premise of formal distinction between modern and post-modern designs. These theories are founded upon the discussion on visual perception of Gestalt in Germany in 1910's, in pursuit of the principle of perception centered around visual perception of human beings. In Chapter 2, I dealt with functionalism of modern design, as an advance preparation for the further study on the product design of the late 20th century. First of all, in Chapter 2-1, I examined the tendency of modern design focused on functionalism, which can be exemplified by the famous statement 'Form follows function'. Excluding all unessential elements in design - for example, decoration, this tendency has attained the position of the international style based on the spirit of Bauhause - universality and regularity - in search of geometric order, standardization and rationalization. In Chapter 2-2, I investigated the anthropological viewpoint that modern design started representing culture in a symbolic way including overall aspects of the society - politics, economics and ethics, and its criticism on functionalist design that aesthetic value is missing in exchange of excessive simplicity in style. Moreover, I examined the pluralist phenomena in post-modern design such as kitsch, eclecticism, reactionism, hi-tech and digital design, breaking away from functionalist purism of modern design. In Chapter 3, I analyzed Gestalt Pragnanz in design in a practical way, against the background of design trends. To begin with, I selected mass product design among those for the 20th century products as a target of analysis, highlighting representative styles in each category of the products. For this analysis, I adopted the theory of J. M Lehnhardt, who gradated in percentage the aesthetic and semantic levels of Pragnantz in design expression, and that of J. K. Grutter, who expressed it in a formula of M = O : C. I also employed eight units of dichotomies, according to the G. D. Birkhoff's aesthetic criteria, for the purpose of scientific classification of the degree of order and complexity in design; and I analyzed phenomenal aspects of design form represented in each unit. For Chapter 4, I executed a questionnaire about semiological phenomena of Design Pragnanz with 28 units of antonymous adjectives, based upon the research in the previous chapter. Then, I analyzed the process of signification of Design Pragnanz, founded on this research. Furthermore, the interpretation of the analysis served as an explanation to preference, through systematic analysis of Gestalt and Design Pragnanz in product design of the late 20th century. In Chapter 5, I determined the position of Design Pragnanz by integrating the analyses of Gestalt and Pragnanz in modern and post-modern designs In this process, 1 revealed the difference of each Design Pragnanz in formal respect, in order to suggest a vision of the future as a result, which will provide systemic and structural stimulation to current design.

• Archives of design research
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• v.2 no.1
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• 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'.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.262-269
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• 2007

The blur phenomenon obscuring the boundary between the field of designers and that of users may be the key paradigm in the 21st century. However, we observed a number of chair design cases that could be considered as the results of blur pheonomenon in the furniture design field from mid 1960s. The backgrounds include the repulsion against the uniform functionalism, deliberation on the life in the future and the development of plastic materials and their processing methods. Under such backgrounds, the designers pursued the new and futuristic furniture design. In that process, what is about the "freedom" that the consumers as well as the designers should have in using the furniture was the important concept. This concept enabled the creation of chair design inducing the participation of consumers. They created various kinds of shapes, functions and structures that the consumers became interested in as if they had fun with toy blocks by mainly using the new material "plastic". In a formative aspect, the entire shape is classified into the organic shape and geometric shape. The unit types are divided into two kinds; type that the unit of simple shape is repeated only with size difference and irregular combination type of the units comprised of more than two shapes. In the functional aspect, some cases showed the transformation and expansion of the function more variously. Other cases changed the function of chairs to tables, cabinets, or objects. In the structural aspect, on the basis of the method assembling each unit, one method is to assemble using the hardware and the other is to assemble only with intrinsic units of chair. The chair design created by the blur phenomenon between the designers and the users as described above causes the blur phenomenon between the furniture and the space where the furniture is installed. Accordingly, it is expanding the furniture design sphere including the case that the furniture is not selected as the rifle article depending on the characteristics of interior space but it becomes the element leading the characteristics of space. This study aims to estimate the change of interior space and the furniture that my cause the blur phenomenon by examining the cases above appropriate for the paradigm of the 21st century. Furthermore, this study will enable the discussion oil the directions of future furniture design based on its results.