• 한국디지털건축인테리어학회논문집
• /
• 제10권1호
• /
• pp.15-22
• /
• 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.

• 건축역사연구
• /
• 제6권3호
• /
• pp.145-154
• /
• 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.

• 전력전자학회지
• /
• 제21권1호
• /
• pp.31-39
• /
• 2016

• 한국실내디자인학회논문집
• /
• 제24권2호
• /
• pp.78-87
• /
• 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.

• 한국의류학회지
• /
• 제39권2호
• /
• pp.217-232
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제21권5호
• /
• pp.162-170
• /
• 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.

• 한국주거학회논문집
• /
• 제15권4호
• /
• pp.107-115
• /
• 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.

• 정보과학회지
• /
• 제5권2호
• /
• pp.61-84
• /
• 1987

1950년대 초기의 Compiler가 나온 이후로 지금까지 Compiler를 만드는 기 술이 급격히 발전해 왔다. Backus는 “초기의 FORTRAN Compiler를 만드는데 18man-years가 걸렸다”고 하였다. 그러나 현재에 이르러서는 Computer Science Department의 학생들이 Compiler구조 시간을 통하여 한학기 정도의 작업으로도 실제 Compiler를 설치할 수 있게 되었다. 이렇게 지난 20여년간 크게 발전할 수 있었던 이유에 대하여 Aho and Ullman은 Compilation과정을 modulor하게 구 성하는 법을 이해하였고, Compilation중의 여러 중요한 작업을 처리하는 조직 적 기술을 연구 개발 하였으며, 특히 이를 뒷받침하는 software tools을 개발 하였음을 말하고 있다. 여기서 말하는 compiler writing tools는 scanner (lexical analyzer)나 parser generators에서 크게는 compiler generator 혹은 compiler compiler를 의미하고 있다.

• 한국디지털건축인테리어학회논문집
• /
• 제7권2호
• /
• pp.33-41
• /
• 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.

• 한국전자통신학회논문지
• /
• 제2권4호
• /
• pp.244-249
• /
• 2007

HL7은 병원정보 시스템에서 사용되는 정보와 관련된 표준화된 프로토콜이다. Central Monitor로부터 전송되어진 환자의 생체정보 Raw Data가 HIS의 데이터 수신 모듈을 통해 사용가능한 데이터로 재구성될 수 있도록 설계가 이루어져 있다. 환자 생체정보에 대한 실시간성과 생체정보에 대한 생체정보 데이터의 연속성을 부여함으로서 베드 사이트의 환자에게서 발생된 모든 생체정보에 의해 환자 관리가 이루어진다. 또한 보다 많은 검사장비의 데이터를 데이터베이스를 이용하여 전산화함으로서 해당 환자의 광범위한 자료 검색이 이루어지므로 획기적인 원격진료로 활용이 가능하다.