• Journal of The Korean Digital Architecture Interior Association
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• v.10 no.1
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• pp.15-22
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• 2010

As for structural system, which constitutes his construction, there are column inside dimension and span which constitutes plane, and as for constructions for section, there are C.H and slab, and as for constructive factors for envelope, there are window and closing panel of outer wall, and as for opening, there are punching window and wave window. With these constructive parts and opening of envelope, his construction composes volume and mass. The relation of structure and modulor which are shown in his later construction can be divided in two cases that modulor is directly and indirectly adapted for rate and measure calculation of the constructive body. As for indirectly adapted case, we can find it form most of his later construction, it is living place in which human beings life is, and it is adapted mainly for small space. In his construction, he tried to tell human scale and sense of musical rhythm through modulor. In other words, he played sense of space and musical scale by adapting regular and repetitive modulor of opening, and in small space for daily life, he made the size of space into the space which human can perceive. And, if we interpret mudulor in modern meaning, it is an establishment of radius of human act. And, we can make organic and harmonic design of space if we use modulor as origin of human centered measurement calculation, and if we adapt space after dividing by use.

• Journal of architectural history
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• v.6 no.3 s.13
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• pp.145-154
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• 1997

Le Corbusier had developed the Modulor replacing the Regulating Lines in the 1930's and 1940's. The lines can not produce lyrical ideas or creational concept but make plastic dimension pure only to keep in balance. First, the Grid of Proportions was developed and then the Modulor 1. The Modulor originated in one square, double square, the two golden means added or subtracted, the place of the right angle, human dimension, the Fibonacci series and divided Red series and Blue series. He developed the Modulor 2 for a reconciliation between the foot-and-inch system and the metre. As Corbusier devoted himself to a social and industrial problem, he was sure that a transcendental universality be in cosmos including a human being. His dream was to creat a orderly and harmonious utopia. What intrinsic harmony between Cosmos, nature and a human being be realized by mathematic order was the reason he hinted himself to the proportion.

• KIPE Magazine
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• v.21 no.1
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• pp.31-39
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• 2016

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.217-232
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• 2015

Clothing design considers the concept of human body proportions. This paper proposes an anterior somatotype and body proportion modular by head ratio for 20s to 30s Korean males. Anterior somatotype is classified into 18-types with 13 ratios that consist of 7 heights and 6 widths divided by stature. A total of 18-types are expressed in numerical values that represent the percentage of the stature and geometrical figures represented on the grids one unit is 1% of the stature. The torso is divided by 6 modules that are side neck to shoulder, shoulder to axillary, axillary to waist, waist to navel, navel to hip, and hip to crotch. Head and leg can be estimated as numerical information of stature and torso. Morphological characteristics of anterior somatotype are analyzed by 4 factors based on results and 18-types named by simple signs. We develop a new classification of anterior somatotype that integrate vertical and horizontal characters of body proportions. The use of integrated classification in the clothing industry is expected to increase the clothing fit.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.162-170
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• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• Journal of the Korean housing association
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• v.15 no.4
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• pp.107-115
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• 2004

The purpose of this paper is to study on the architectural value in Dom-Ino system. Dom-Ino system by Le Corbusier is a structural system for effective production in terms of physical reproductivity and a modeling system from the view of formal composition. It creates planar grid with a fixed ratio, manipulates the user group, and becomes the basic construction method. Form comes out of geometrical proportion system, and grid-based plan provides regularity and order to elevation planning. Production requires standardization. Indoor space is maintained by uniformed and integrated service facilities. Dom-Ino system was a transitional step of the Modulor system which was created by Le Corbusier in 1945 and composes of and equivalent proportional system. The fact that the numerical proportion system is the one of appropriate design methods implys a progressive concept that architectural configurations are controlled by the technology of that time. And also the system is one of the object type of Corbusier's housing architecture.

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.5 no.2
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• pp.61-84
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• 1987

This paper deals with actual constructions of programs for experiments in several parsers based on the theoritical results of others that represent on of the most fruiful contributions in computer science. Specifically the report deals with (1) a general computer representation of grammar (2) a precedence parser generator, (3) a LL (1) parser generator, (4) a practical SLR (1)/LALR (1) parser generator.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.2
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• pp.33-41
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• 2007

This thesis aims at understanding Le Corbusier's architecture through study of proportion. Based on the analysis of these texts, four elements - geometry in the outline, diagonal regulation lines in the facade, arithmetic rhythm in the structure, composition in the inner space - were listed. Through these four proportional systems. ten houses of 1920's, designed by Le Corbusier were analysed. The Le Corbusier's proportional system can be classified by two different purposes ; aesthetics and utility standardization for the mass production was reflected. In the later period, the proportion system of 1920's has changed through the process of self-contradiction. But the concept of the golden section and the human scale was reflected on Modulor, which Le Corbusier created in 1940's. Therefore, Le Corbuiser's notion of proportion for harmony of architecture has consistent meaning throughout all of his works from the 1920's.

• The Journal of the Korea institute of electronic communication sciences
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• v.2 no.4
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• pp.244-249
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• 2007

HL7 is well-Known standard protocol for text data generated in hospital information systems. In this paper, we have to design to obtain useful vital sign information, which is generated at data receiver modulor of HIS, that is offered by the central monitor. Vital sign informations of central monitor is composed of the row data of several bedsite patient monitors. We are willing to maintain vital sign information of real time and continuity that is generated from the bedsite patient monitor. It is able to apply to remote medical examination and treatment. we proposed integration method between vital sign database systems and hospital information systems. Through the proper exchange and management of patient vital sign information, real time vital sign information management will offer better workflow to all hospital employee.