르네상스 고전주의 건축양식의 조형원리와 현대패션디자인에의 적용 - 1999년 이후 클래식 스타일 패션을 중심으로 - Layout Principles of Renaissance Classicism Architectural Style and Its Application on Modern Fashion Design - Focused on Classic Style Fashion after the Year 1999 -원문보기
The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W
The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.
The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.
순수가시성의 측면에서 선적인 양식이란 사물의 윤곽선에 중점을 두어 경계점, 즉 사물간의 명백한 분리성에 초점을 두는 것이다. 이는 관찰자의 눈에 보이는 윤곽선들이 형태에 대한 정보의 주된 원천이 됨을 말한다18).
팔라디오가 모든 방은 인접한 방에 비례하고 방 자체도 대칭으로 구성된 이유는?
동일한 모양의 신전 포티코(portico)31)가 빌라의 네 면 모두에 구성되어 있으며, 주요한 방은 중앙에 위치하고 중앙 상부는 돔으로 덮였다. 팔라디오는 대칭과 명료함에 대한 열정이 있었기 때문에 모든 방은 인접한 방에 비례하였고, 방 자체도 대칭으로 구성되었다32).
르네상스 고전주의 건축의 조형특성을 살펴보는 연구의 2가지 연구 문제는?
첫째, 순수 가시성의 차원에서 살펴본 르네상스 고전주의 건축양식의 조형원리적 특성은 무엇인가?
둘째, 르네상스 고전주의 건축양식의 조형원리가 현대패션에는 어떻게 적용되며, 패션을 통해 보여지는 각각의 표현양식은 어떠한 특성을 지니는가?
참고문헌 (13)
겔런터, 마크 (2007). 보이는 건축 보이지 않는 생각: 건축 디자인이론의 비판적 역사. 최아사 역. 서울: 도서출판 한길사.
금선주 (1995). "하인리히 뵐플린의 '양식론' 고찰." 홍익대학교 대학원 석사학위논문.
김병기 (2005). "렘 쿨하스 건축의 개방성에 관한 연구." 한양대학교 산업경영대학원 석사학위논문.
김성곤, 김경희 (2003). 서양건축사. 서울: 기문당.
바워, 헤르만 (1998). 미술사학의 이해. 홍진경 역. 서울: 시공사.
뵐플린, 하인리히 (1995). 미술사의 기초개념(Kunstgeschichtliche Grundbegriffe). 박지형 역. 서울: 시공사.
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