• 건축역사연구
• /
• 제14권1호
• /
• pp.107-122
• /
• 2005

The purpose of this study is to analyse Herzog & de Meuron's surface, which represents contemporary architectural trends toward surface. Semper's Bekleidung theory and the important architectural theories about surface were compared according to the conceptual opposition between representation and re-presentation, which is borrowed from Kastern Harris, and again Martin Heidegger. Representation means a sort of translation into a different medium. It doesn't preserve the material identity of what it represent. Re-presentation, however, celebrates the material employed. The tension between representation and re-presentation have activated the architectural history Contemporary architects have emphasized re-presentation at the expense of representation. This trends relate with digital technology, which demands surface or skin independent from depth or interior. Buildings that deserve to be called works of architecture invite us to attend to material in a different way Re-presenting its materials, the work of architecture reveals its being. Such revelation requires that materials work in a way that invites us to step back from our usual involvement with things. It's the poetics of re-presentation, which is emboded in the Herzog & de Meuron's architectural works.

• 대한수학회지
• /
• 제48권5호
• /
• pp.1083-1100
• /
• 2011

We show that some class of spacelike maximal surfaces and timelike minimal surfaces match smoothly across the singular curve of the surfaces. Singular Bj$\"{o}$rling representation formulae for generalized spacelike maximal surfaces and for generalized timelike minimal surfaces play important roles in the explanation of this phenomenon.

• 건축역사연구
• /
• 제15권4호
• /
• pp.37-56
• /
• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 2007년도 춘계학술대회 논문집
• /
• pp.193-198
• /
• 2007

The propose of this study analyze an expression method of a surface in commercial buildings, and it is to show an example of a surface design in Manhattan. In particular, I focus on the following three categories : representation element of surface image : materials and structure method, the property of transparency, and an electronic surface and media screen. Unlike the past era in which surface design in commercial buildings was viewed just as a mean ornament, it has become more important in the presently era because diverse expression technologies in surface design makes architects express there creative ideas. Besides, the diversity of surface design expands the concept of cultural space as it provides various graphic element that human desire for multi-cultures. So diversity of surface will accelerate.

• 한국실내디자인학회논문집
• /
• 제15권3호
• /
• pp.75-82
• /
• 2006

Discussions on transparency have been being analyzed as variedly as the diversity itself in contemporary architecture. Though it is inappropriate to summarize the discussions into several specific viewpoints, as the notional classifications on transparency are varied according to the points of individual researchers, it can be said that, by approaching with the standpoint of the designers who may have various difficulties in the course of design, the meaning of this thesis lies largely in the fact that it attempted to study the architectural application techniques of transparency notion both through surface aspect which could be said to decide on the appearance of the architecture shape and through, in physical aspects as a combination of space components comprising the inner space, spatial aspect to which architectural techniques of transparency notion are applied. Through these, we conclude as follows. 1. Representation Techniques of Transparency in Surface : Transparency from surface viewpoint could be categorized into 1) emphasis on property-of-matter, 2) lightness of Literal material itself, 3) visual ambivalence, and 4) dematerialized hyper-surface. 2. Representation Techniques of Transparency in Space : In spatial viewpoint, transparency is summarized into sub-viewpoints as 1) straightforward space 2) ambiguous spacer 3) expanded space

• 한국전산구조공학회:학술대회논문집
• /
• 한국전산구조공학회 2002년도 봄 학술발표회 논문집
• /
• pp.505-511
• /
• 2002

In the present study, we visualize the linkage framework between geometric modeling and shell finite element based on B-spline representation. For the development of a consistent shell element, geometrically exact shell elements based on general curvilinear coordinates is provided. The NUBS(Non Uniform B-Spline) is used to generate the general free form shell surfaces. Employment of NUBS makes shell finite element handle the arbitrary geometry of the smooth shell surfaces. The proposed shell finite element .model linked with NUBS surface representation provides efficiency for the integrated design and analysis of shell surface structures. The linkage framework can potentially provide efficient integrated approach to the shape topological design optimizations for shell structures.

• 한국소음진동공학회논문집
• /
• 제22권8호
• /
• pp.777-783
• /
• 2012

진동 인텐시티는 진동시스템에서 진동원의 위치를 찾는데 사용되어 왔다. 벡터 표현법 사용에 의해 파워흐름의 원인과 진동에너지 전달경로가 밝혀질 수 있다. 그러나, 판과 같은 구조물의 넓은 면적으로 인해 벡터 가시화를 사용하여 명확한 전달경로를 알아낼 수 없었다. 실험적으로 큰 면적의 물체에서는 측정점의 수가 늘어나게 된다. 이것은 측정에 많은 시간이 요구된다. 이번 연구에서는 FEM과 실험에 의한 모든 면에서 파워흐름 전달경로를 분명하게 가리키기 위해 유선 표현법이 사용되었다. 진동 인텐시티 전달경로를 분명하게 향상시키기 위해 실험과 FEM으로부터의 유선 표현을 비교하였다. 또한 FEM과 실험의 개선된 전달경로 가시화를 기존의 벡터표현과 비교하였다. 이 유선 가시화는 큰 표면을 갖는 판과 같은 구조물에 대해 진동원과 상세한 에너지 전달경로를 확인하는데 유용하다. 그 뿐만 아니라, 이 가시화 방법은 실험과 FEM 해석에 대해 많은 측정점을 필요로 하지 않는다.

• 한국정보과학회논문지:시스템및이론
• /
• 제27권3호
• /
• pp.235-244
• /
• 2000

본 논문에서는 단층 촬영 영상(tomographic cross-section image)에 포함되어 있는 볼륨 정보를 표현하기 위한 새로운 방법을 제안하였다. 이 방법은 큐베릴 공간을 셀 공간으로 변환하고 경계셀들을 추출하여 볼륨을 재구성하는 방법이다 셀 경계 표현은 이러한 경계셀들과 이들의 지지 복셀들의 구조에 의해 표현되어 지는데, 항상 볼륨 정보를 정확하게 표현해낼 수 있다. 이 표현에서부터 가시화등의 작업에 필요한 표면모델을 추출하기 위해 19개의 모델링 원형을 제안하고 체적형, 표면형 그리고 선형으로 분류하였으며， 이들로부터 3차원 표면을 표 참조방식으로 빠르게 추출할 수 있는 알고리즘을 제안하였다. 제안된 방법의 장점은 기존에 제안된 마칭 큐브나 PVP알고리즘 등에서 흔히 발생하는 표면생성시의 모호성문제가 전혀 발생하지 않으며, 마칭 큐브 알고리즘에서 발생하는 표면의 크랙문제도 완전히 해결된다는 장점이 있다. 또한 알고리즘이 표 참조방식을 취하므로 하드웨어화 하기가 매우 용이하여 고속의 모델링이 필요한 분야에 매우 적합한 방법이다.

• 한국실내디자인학회논문집
• /
• 제17권3호
• /
• pp.139-147
• /
• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.

• 한국의상디자인학회지
• /
• 제25권1호
• /
• pp.153-168
• /
• 2023

Non-representation creates difference and change that can be used as a creative design method that satisfies contradictory requirements for similarity and differentiation. This study drew upon the characteristics of the concept of non-representation expressed in contemporary art and architecture, in which Gilles Deleuze's philosophical thinking was reflected, and analyzed the non-representation depicted in contemporary fashion. The non-representation expressed in contemporary art and architecture is as follows. Non-representation of delaying becoming focuses on reverting to preexisting objects and redefining traditional meaning, thereby delaying the representation of latent meaning. Non-representation of non-becoming removes existing values and typical forms and expresses amorphousness. Non-representation of becoming by repetition or reiteration realizes the difference caused by the passage of time by repeating or overlapping shapes. Non-representation of becoming expresses the transformation of space by flowing through time rather than by actual movement. Non-representation in contemporary fashion shows the following expression characteristics. First, the non-representation of deferring becoming deconstructs the traditional values and forms of clothing and expresses designs by displacement or juxtaposition. Second, the non-representation of non-becoming is expressed concepts unrelated to the body and focus upon amorphous objects that do not become concretized forms. Third, generative non-representation by repetition and overlap expresses the possibility of change by overlapping clothing items or details expressed by repeating segmented objects. Fourth, generative non-representation by movement reproduces the meaning of space and time by moving the shape of the clothing or visually changing the surface of the material of clothing. As a result of the study, the non-representation shown in contemporary fashion aims for versatility to conform to social changes. This study provides new insight into the fashion design method by increasing the understanding of the cocnept of non-representation and showing its potential.