• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.68-79
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• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.117-126
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• 2003

A semiotic approach to modern visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodernism." It views a work of art as a sign, which is its methodical assumption ana at the same time makes its application more accessible In the milieu of modern visual arts'effort to be intimate to with general audience, modern art photography is now faced with the request to be a familar and universal domain instead of being left only in photo books as artistic and academic achievements More specifically, various photo images 1mm such visual media as newspapers TVs, and computer graphics to such megaexhibitions as "Gwangju Biennale," "Media City Seoul," and "Pusan International Art Festival," are main objects of s030y. A coherent and scientific analysis of visual semitotics is still on the way; however, it is an urgent task how to read and interpret a photo image with multiple meanings This study argues that visual semiotics can be a powerful tool to enhance the understanding of art photography. After all, semiotics is a product of age; we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena.rk of art well as the social events and phenomena.

• Journal of the Korea Furniture Society
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• v.19 no.5
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• pp.328-340
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• 2008

This study examined the characteristics of furniture design in the early Modernism that occurred in the early 20th Century through the relationship with modern arts. The furniture design of the early Modernism was established in the early 20th Century based on the simplicity and honesty of the Art and Crafts Movement and Anti-Historicism in Art Nouveau. During this period, the necessity of mass production became critical due to the radical industrialization and new social demands. In such periodic stream, the furniture design of the early modernism pursued simplicity and geometric beauty based on functionalism. The efforts to discover the fundamental structure of furniture were intensified. It was not limited to furniture design but was also exercised in the huge periodic transformation that progressed in every field of art including architecture. The Modernism art has also been connected to Cubism and spread into an abstract direction. While questioning the potential essence and progressing the study on genuine characteristics, the Modernism art tried to return things into their substantial looks and reorganize them conceptually, rather than reproducing external objects. The furniture that was secondary to a part of architecture and interior accessory transcended its decorative purpose. It pursued the structure to follow its fundamental purpose as furniture. Such tendency corresponded to the direction that Post-Modernism followed. Likewise, both art and design had the revivable and abstract characteristics based on the identical objective in ideology. For this reason, the formative and geometric characteristics of the early modernism furniture design have a mutual relationship with modern arts. Particularly, such tendency intensified and progressed through the Bauhaus in Germany. Based on such facts, this study proved that the early Modernism furniture design in the 20th Century tended to appear in common arts including the art and design according to the social demand of the huge periodic stream. Furthermore, the ideology that was adopted in art and design, as well as its formative characteristics, was examined through the mutual relationship of modern arts and design.

• Archives of design research
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• v.15 no.1
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• pp.15-26
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• 2002

Contemporary visual art is characterized by a systematic study of the irrational. This trend was largely a reaction to the rationality of Modernism, which felt out of fair in the post-industrial society. This new trend against Modernism is represented by Deconstructivism. However, the appeal of irrationality has a deeper root. In this article, we examine the historical roots0 of this interest in the irrational. In doing so, we focus tour attention on the effect of Freud's theory of the subconscious on the growth of Surrealism in modern art. In particular, we explore how this same tendency is reflected in modern. floral art & design. By doing so, we are able to relate the developments in floral art & design with the developments in other areas of modern art. Finally, we show that it is possible for floral art & design to be in the vanguard of contemporary art because of its unique characteristics.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.2
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• pp.952-958
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• 2011

Industrialization played an important role in modernization and the birth of modern architecture. The changes caused by the industrialization and people's faith in its output are reflected in an attempt to associate the concepts and process of architecture with industrialization. In the course of incorporating architecture into the industrialization process, it became necessary to understand the architecture from practical point of view connecting it directly with scientific technology rather than in the context of historical tradition in the past. Understanding architecture as a kind of industrial production signifies two concepts. One is regarding perception of architectural outputs. The other is regarding the intention to proceed architectural process as a process of industrial production. The purpose of this study is to review the changes in the architecture influenced by industrialization from post-industrialization through early modern period and to analyze its significance and influence.

• English & American cultural studies
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• v.18 no.4
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• pp.33-64
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• 2018

Through the experimental narrative construction by authorial divinity, Muriel Spark's novels and films based on her fiction show the difficulty of living like a human being under various inhumane and manipulative circumstances of the modern capitalistic society. By adopting flash-forward, self-reflection, and deceptive omnipotent viewpoints, her work has surprisingly predicted the post-modern trend in which humans are increasingly attracted and interpellated to the digitalized media. Muriel Spark called the recent anesthetic situation by stimulation "a driver's seat" because it is a symbol of how humans should act to maintain the critical subject. Emphasizing the value of self-reflection, religion and morality in the mechanized society, Muriel Spark stressed literature should play the role of helmsman who sails safely in the rough sea. In Muriel Spark's works, God is often synonymous with writers. As a Jewish immigrant she experienced alienation in Scotland, marital violence, prejudices of the London-based publishing world, Nazism, and Watergate. For her, the harsh reality of the modern society needs to be guided and complemented by something beyond human control. But rather than relying entirely on traditional Catholic doctrines such as Graham Greene and Evelyn Waugh, Muriel Spark has taken a personal, religious view of literature and insists that the genuine writer must play God's play. Seeking for the speculative vision for the future of human life in God's plan, she tries to understand the complex twisted motives of human beings which are often far from the ideal form. Simply put, her search of self-reflection, religion and ethics is modeled on the God's plan for the ideal human being who is supposed as the writer with the transfigurative imagination of the trinity.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

• Journal of the Korea Society of Computer and Information
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• v.22 no.2
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• pp.133-139
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• 2017

Today, the activities of individuals and corporations are dependent not only on digital technology but also on the future of society, which is referred to as the fourth industrial revolution. Since the traces that arise from the crimes that occur in the digital society are also inevitably developed into a society that should be found in the digital, the judicial dependence of judging by the digital evidence is inevitably increased in the criminal procedure. On the other hand, considering the fact that many users are using virtual shared computing resources of service providers considering the fact that they are being converted into a cloud computing environment system, searching for evidence in cloud computing resources is not related to crime. The possibility of infringing on the basic rights of the criminal procedure is increased, so that the ability of evidence of digital data which can be used in the criminal procedure is limited. Therefore, considering these two aspects of digital evidence, this point should be fully taken into account in judging the evidence ability in the post-seizure warrant issuance and execution stage as well as the pre-emptive control. There is a view that dictionary control is useless, but it needs to be done with lenient control in order to materialize post-modern control through judging ability of evidence. In other words, more efforts are needed than ever before, including legislation to ensure proper criminal procedures in line with the digital age.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.135-142
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• 2012

This study is aimed to investigate the dimension feature of the plane about the economic type farming village Korean-style house progressed in the Chonnam province and Longitudinal feature and tries to reveal this feature through the comparing analysis with the traditional house positioned in the Chonnam province. This result is as follows. First, the main feature in plane is the setting up the column interval in front when comparing the house of Happy Village and traditional house. In case house of the Happy Village, after firstly fixed the limited scales, sizes are determined, this is due to control the set up in the post interval in this in range. Second, in the case of the traditional houses, 0.68 ratio of the building height about the side length and 0.19 ratio of the eaves extrusion about the side length are consistent ratio about dimensions. However, there is no consistent ratio or fixed law, the various dimensions show up in case of the house of Happy Village. It will be inevitable that space of the post increases for the convenience of life of the modern people. However, it has to sublate and to disregard as the identity of the morphological shown up in the Korean-style house the more various construction standards will need to be presented.

• Earthquakes and Structures
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• v.10 no.5
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• pp.1049-1066
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• 2016

An approximate analysis is presented for multi-story setback buildings subjected to ground motions. Setback buildings with mass and stiffness discontinuities are common in modern architecture and quite often they are asymmetric in plan. The proposed analysis provides basic dynamic data (frequencies and peak values of base resultant forces) and furthermore an overview of the building response during a ground excitation. The method is based on the concept of the equivalent single story system, which has been introduced by the author in earlier papers for assessing the response of uniform in height buildings. As basic quantities of the dynamic response of elastic setback buildings can be derived by analyzing simple systems, a structural layout of minimum elastic rotational response can be easily constructed. The behavior of such structural configurations, which is basically translational into the elastic phase, is also examined into the post elastic phase when the strength assignment of the various bents is based on a planar static analysis under a set of lateral forces simulating an equivalent 'seismic loading'. It is demonstrated that the almost concurrent yielding of all resisting elements preserves the translational response, attained at the end of the elastic phase, to the post elastic one.