• 한국실내디자인학회논문집
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• 제15권5호
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• pp.289-297
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• 2006

This study was begun on the premise that architecture which has the definite disposition for survival even in the urban, social structure of that uncertainty and constructs specialty is biomorphic architecture. This study was made with the following four specific purposes largely. First, through the theoretical investigation of biomorphic architecture that appears in the tendency that mordern architecture develops into the architecture of do-stereotype and new form, its meaning and definition are examined. Second, the analysis of biomorphic architecture is investigated and the generation causes are applied architecturally and generate biomorphic architecture is made. Third, by analyzing the material expression characteristics of biomorphic architecture, the meaning and possibility of architecture, which expresses the vitality of organism, as the material expression characteristics of biomorphic architecture, are investigated. The material expression characteristics was deduced through the generation background of biomorphic architecture. The material expression characteristics of biomorphic architecture is the various modeling by smart-network and the response system of sensitivity poly-logue.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 1998년도 봄 학술대회 발표논문집 디자인 학 연구
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• pp.18-19
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• 1998

• 한국콘텐츠학회논문지
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• 제14권5호
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• pp.436-443
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• 2014

불확정성의 도시 사회구조에서도 생존을 위한 뚜렷한 성향을 가지고 특성화를 구축하는 건축을 바이오모픽 건축이라고 본 연구에서 전제하고 연구를 시작하였다. 본 연구의 목적은 현대건축의 비정형적이고 새로운 형상의 건축으로 전개되어 가고 있는 바이오모픽 건축에 내재되어 있는 의미를 해석하여 바이오모픽 건축 발생의 유기체 철학적 배경을 분석하는 것이다. 바이오모픽 건축은 자율적 생존구조를 지닌 생명체 형상으로 생명체가 지닌 생명현상의 잠재력을 형태로 구체화한 건축이라고 정의하였다. 이론적 고찰을 통해 바이오모픽 건축의 특성은 유동적 생명현상의 형상화와 상호관계적 자기조직화와 사용자 경험의 활성화 지원으로 분석되었다. 바이오모픽 건축의 특성을 분석하여 바이오모픽 건축의 발생요인으로 유기체 철학을 도출하는 연구분석의 객관적 기준을 구체적 사유로서의 '생성'과 복잡성의 과학과 창발적 시스템을 중심으로 정리하였다. 바이오모픽 건축의 발생요인으로 유기체 철학을 중심으로 분석하였다. 새로운 건축의 유기체 철학을 중심으로 하는 발생배경에는 건축 관련 구성요소와 환경과의 유기체적인 통합의 특성이 작용되는 현상을 확인할 수 있다.

• 복식
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• 제65권4호
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• pp.19-30
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• 2015

In recent years, various studies about 'Biomorphic design' have been conducted and accelerated among many recent design concepts and methodology. Therefore, this study classifies the types of biomorphic fashion design based on literature review, and select biomorphic fashion designs in the latest fashion designer's collection. This study aimed to determine the types and characteristics of the biomorphic design in fashion design, and analyze the characteristics and the interpreted intrinsic meanings through Greimas Semiotic rectangle model based on the Binary-Opposition of meaning and Isotophy. As the result of analysis, biomorphic designs in fashion are classified as three types: 'representational imitation of form', 'technical imitation of functional features', and 'imitation of symbolic attribute'. 'Representational imitation of form' was derived from an organic design through atypical forms, repetition and extension of figurative forms of nature, and 'the functionalities of the nature' are interpreted as the feature to maintain the condition of the life itself and to attempt to regulate the status of self-autonomy. Lastly, 'the imitation of symbolic attributes' is designing the process of creation, growth, expansion and destruction from circulation of nature.

• 한국항공우주학회지
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• 제40권8호
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• pp.670-677
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• 2012

본 논문에서는 Biomorphic C/SiC 복합재료에 대하여 단위구조해석을 수행하였다. 소나무와 뉴송을 탄화하고 실리콘을 함침해 제조한 복합재료의 미세조직을 사각배열과 육각배열로 가정해 단위구조를 정의하고 등가물성치를 계산하였다. 단위구조의 크기가 동일하지 않은 경우도 고려하였고, 또한 공극의 배열에 따른 물성치의 변화를 몬테카를로 시뮬레이션을 통해 조사하였다.

• 한국의상디자인학회지
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• 제21권2호
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• pp.109-122
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• 2019

The purpose of this study is to examine the clothing component information and attributes as the control parameters for the 3D modeling process of the biomorphic clothing sculpture using a parametric methodology. The 3D modeling parameters of biomorphic clothing sculpture were identified as exaggerated silhouette, surface texture, and digital color. The types of exaggerated silhouettes were shoulder and hip exaggeration, shoulder exaggeration, hip exaggeration, vertical exaggeration, and horizontal exaggeration. The types of surface texture were embossed, lacy, furry, and complex textures. The types of digital color were chrome, blur, blend, and acid colors. The characteristics of morphological representation due to the attributes of these control variables were identified as morphological variation, organic morphology, organizational morphology, and realistic morphology. As a result, it was found that the parameter attributes were applied to the biomorphic clothing sculpture parametric design process and developed into various shapes.

• 한국가구학회지
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• 제12권1호
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• pp.91-101
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• 2001

This study explored the trend of postwar period American furniture design and analyzes the contexts of the trend. To be more specific, this study categorized the types of the styles or "looks" of furniture which were dominant in postwar period America: the machine look ; the handicraft look ; the biomorphic look. The background and the context for each look were traced back and analyzed both diachronically and synchronically. Based on the analysis, this study provided two conclusions. First, postwar period American furniture design is in many ways indebted to the World War II, because the war itself and postwar economic revival produced high demands for furniture, which consequently produced a variety of looks of furniture. Second, the furniture design in this period is attributed to commercialism and consumer-oriented design policy formulated in the mid 1920′s when American design established its own identity separating from European avant-gardism.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• 조형예술학연구
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• 제4권
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• pp.91-122
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• 2002

`Bio morphism` are constituted in paintings where the artists try to embody the elementary properties of living creature as of growth and durability. They are the most appropriate concept of painting to harmonize human being with nature closely. The formative ways of them attach great importance to both unconsciousness and desire , as well as variations or dynamics, by noticing a flow of natural senses and feelings of human being. In other words, the formative ways are based on a recognition of nature as the intrinsic force of life, with the result that aesthetics of incompleteness is embodied in images. Therefore they are clearly distinguished from that of functional, geometric images. A tendency of painting at that time, in a word, 'return to figure and expression', means a conversion into organic images like the incomplete, atypical, and biomorphic forms, while denying the mechanical or geometric. Elizabeth Murray are analyzed, for these works are remarkable in the characteristics of 'Bio morphism'. Consequently the features of organic images, that is, 'the formative acceptance of natural figures, or an informality' and 'the force of free will, or an incompleteness', could obviously be revealed. It is a type that obtains a motif out of natural figures like an animal, a plant, or the concrete figures of human being. In conclusion, this thesis is focused on not only emphasizing that 'Bio morphism' were a major tendency among the various trends of postmodern painting in the 20th century, but also analysing both the painterly formation of organic images and the structure of them. In addition to these points, it is a central aim to evoke that Bio morphism should accurately be evaluated and positioned in postmodern painting. A new recognition of 'Bio morphism' is a peculiarity of the times that reflects a cultural aspect of the present, hence it should be recognized as another way to approach the postmodern painting.

• 디자인학연구
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• 제13권
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• pp.177-200
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• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.