• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.21-30
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• 2015

The visual expression system of space realized in Baroque aesthetics is basically grounded on the philosophical view to the world of the time, that is to say the changes of the thinking system in the Renaissance and ontology based on it. Structural aesthetics in Baroque freed from Plato's system of harmony but grounded on Leibniz's process philosophy formed a crucial background to highlight the formal nature of the whole and build a structure based on the inclusive principle of formativity. Also, to solve problems to realize the order and consistency of forms from the whole, Baroque adopted the nonlinear and nonphysical formative system as the principle of building space in works of art. Combining the order system of nature in the Renaissance with manneristic dynamicity as well as formative principle taking shape geometrically, it did establish a variety of aesthetic concepts based on the results of infiniteness and exaggeration expressed from the two forces, the Renaissance and mannerism. This study has found that such Baroque aesthetics did overcome classical planeness and draw continuous mobility from the structures and forms based on that with the transborder concepts of structures, the components of space, as an ultimate system of formative expression. Moreover, this author has drawn and analyzed with the cases of the 17th-century art and architecture the transborder elements manifesting the nature of diverse formative visual elements produced in artistic expressions with that principle of aesthetics, that is the intangible concept of Baroque. Based on that, this researcher intends to come up with technical solutions to solve a lot of environmental and architectural problems we are severely facing nowadays in terms of environmental, physical, and emotional aspects with the theoretical clues and results acceptable to this contemporary era.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.141-149
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• 2010

This thesis is designed to take a close look into the characteristics of architectural space through the standard of beauty, which has been created apart from our desires at certain cultural or historical periods of time. It will try to construct the outline of conception about the beauty throughout many centuries. First of all, contents of the research will focus on the aspects, which people have been considering as beauty eversince the ancient time without having any assumptions on its concept. For example, if the beauty of art has been accepted by the theories of modern aesthetics while degrading the beauty of nature, its value could have possibly been much more appreciated. The standard of beauty has been going through the process of change in such history of mankind. The general standard of beauty, which was established in the ancient time was the proportion and harmony between many elements. Afterwards, beauty was expressed as colors and light in medieval times. Expression of beauty using ugly features such as monsters or demons also existed at the time. Beauty has been periodically developing from supernatural to gracious, rational, noble, romantic, religious, mechanical, and today's media. The concept of beauty established from the above has been appearing throughout various culture such as dress and decoration at the given period of time. It would later affect the formation of space as well as decoration for architectures and styles. It will be analyzed throughout the five design elements; style, composition, materials, components, and form. The thesis would like to find the spatial order of beauty from the result of the analysis. The analysis will examine the possibility for which the recomposition of beauty will be provided as a design process for the new era. The Greek beauty represents a shape. The shape represents proportion and the proportion represents given numbers. However, beauty is being expressed by the opposite process at the present time. In other words, computers will arrange the numbers, which would formalize the proportion between the numbers. Beauty would be presented when the shape is presented as certain forms.

• Journal of the Korea Convergence Society
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• v.12 no.12
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• pp.235-243
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• 2021

As environmental problems accompanied by industrialization have emerged worldwide, solar and wind energy have entered the stage of commercialization, especially in Korea. In addition, research on improving aesthetics using solar cells is being actively conducted. Examples include developing a transmissive solar cell and developing a solar cell with flexibility and color. Therefore, in line with the upward trend of solar cell development and solar cell-based public facility installation, we will present guidelines for designing public facilities using solar cells to improve aesthetics. First of all, components were derived to increase the suitability of solar cell application through literature surveys on solar cells and case studies on public facilities using solar cells. Next, through prior research on public facility guidelines, we established evaluation principles and drafted design guidelines. Based on this, a Delphi survey was conducted on a group of experts to verify its validity. Design guidelines for solar cells application measures to improve the final public design aesthetics were derived. The goal is to improve the public facilities using solar cells, through Accessibility and cognition, Usability, Shape and aesthetics, Sustainability and energy efficiency, Continuity with the urban landscape. And it is expected that this data will be used to improve the aesthetics of public design using solar cells in the future.

• Archives of design research
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• v.16 no.2
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• pp.141-150
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• 2003

In estimating designed architectural buildings, many factors in various design domains such as function, structure, form, environment may be considered and then a building design might be selected or modified as final design. This paper proposed a method to obtain complexity values from two dimensional drawings which are floor plans or elevations. The method has been developed based on information theory, shape pattern representation and cognitive theory. Results of measuring complexity value can make the computer evaluate and select final results produced from automatic design processes by the computer That is to say, aesthetic values based on order and chaos can be measured using complexity values and then some results having superior values can be selected as final result.

• International Journal of Costume and Fashion
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• v.4
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• pp.81-99
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• 2004

If we are to analyze certain chromatic phenomena, we must first know what “color” is； we must identify its essential characteristics in an effort to achieve a more rational comprehension of visual phenomena in general. What is difficult for most observers to grasp is that seeing colors is no different than seeing shapes. Indeed, all aspects of the objects in the world surrounding us-shape, size, distance, movement, as well as color--are seen via our perceptual system. (omitted)

• Journal of Fashion Business
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• v.19 no.6
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• pp.28-41
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• 2015

Properties of textile fabrics influence the appearance, aesthetics, and performance of garment. Drape and related properties of fabrics affect profoundly the static and dynamic appearance during wearer's movement. The three dimensional shape of the folded structure often deforms with time or with subtle vibration around the fabric specimen during the drape measurement. Due to the uneven and complex nature of fabrics, the overall shape of the fabric specimen on the drape tester often becomes unstable. There is a need to understand the fundamental mechanisms of how draping may generate pleasing forms. Two drape test methods, conventional Cusick drape test, and in-built drape tester, based on a depth camera, are compared. Fabric specimens including cotton, linen, silk, wool, polyester, and rayon are investigated for the fabric drape and other physical/mechanical parameters. Drape coefficient values of fabric specimens are compared based on the final drape images, together with the intermediate 3D drape images of the specimens during elevation process of the drape tester equipped with a stepper motor system. The correlation coefficient between the data based on the two methods is reasonably high. Another advantage from the depth camera system is that it allows further analysis of three-dimensional information regarding the fabric drape shape, including the shape of nodes or crest and trough.

• Proceedings of the Computational Structural Engineering Institute Conference
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• 1998.04a
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• pp.93-100
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• 1998

The basic systems of spatial structures such as shells, membrane, cable-nets and tensegrity structure have been developed to create the large spaces without column. These structures may have large freedom in scale and form, and especially tensegrity structures are received much attention from the view points of their light weight and aesthetics. But There re some difficulties concerning structural stability, surface formation and construction method. One of the way to solve these problems reasonably is a combination of tensile members and rigid members. A structural system based on this concept is referred to as the "HTS ( Hybrid Tension Structure )". This is a type of flexible structural system which is unstable initially, because the cable material has little initial rigidity. As cable - dome hybrid structures is a type of HTS, the initial stress for the self- equilibrated system having stable state have to be introduced. To determine initial stress having stable state, the shape finding analysis is required before the stress - deformation analysis. In this paper, the primary objective is to derive the nonlinear finite element formula of cable and truss members considering geometric nonlinearity for shape finding of cable-dome, and to propose the method to decide the initial stress by the shape analysis of cable-dome hybrid structure with the self-equilibrated state.

• Journal of the Korean Society of Industry Convergence
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• v.13 no.3
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• pp.161-168
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• 2010

Recently, bridges have been momenttous as not only regarding function but also concerning aesthetics. However, when beauty is considered in the bridge, it is also essential that stability and economics be considered. Besides, when considering stability, an arch bridge is one of the most stable structures. The most important element is a rise ratio when regarding beauty and economics of arch bridges. The effect of dead load and DB24 load have been considered to decide proper rise ratio. Therefore, in this study, examined the value of moment, displacement and member forces, in the variation of the rise ratio of arch bridges. The most optimum shape of Nielsen arch bridges has determined by analyzing member forces, moments and displacement with parameters of rise ratio and angle of vertical members. By comparison between values, the hanger types have been also considered to derive the optimum shape of Nielsen arch bridge.

• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.