• Archives of design research
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• v.17 no.4
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• pp.375-384
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• 2004

The general tendency of approach to Korean Design History has been focusing its primary interest on the grand story in relation to the problems of modernization in political, economical and social aspects of Korea. In the discourse of modernization, however, there are two sides immanent in the modernization: there is the formal, institutional and authoritative modernization developed inside the capitalistic mode of production and the informal, individual and cultural modernization manifested in the mode of everyday lives. Especially, despite the viewpoint of the latter being embossed as an alternative approach in various areas including the academic world of history since the collapse of socialism, the historical recognition of the phenomena of modern design by the Korean design historians is more like the 'history from the above' that exists at the level of the discourse outside the reality rather than the 'history from the below' that exists within the ordinary life. To grant a sense of balance in such frame of historical understanding, it requires the restructuring the design history of Korea through the cultural perspectives from having the representation of mundane lives realized by the voluntary design activity of the common people as research subjects. One of the methods to acquire an answer to such problem is decoding, in the manner of 'cultural history', the life-long domestic artifact made by Madame Yang, Gap Jo (currently 87 years of age) who is a model of typical Korean mother. Through the historical rumination on the traces of unpretentious lives of the people that has been buried under the grand narrative of the Korean Design History, a new era aimed for the historical prospect of Korean design as cultural history will be possible by excavating the petit yet multi-layered meaning of Korean designs.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.16-24
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• 2009

Urban is made over a long period of time. In the process, architecture involves design characteristics of age and place. In the case of modem western style architecture, just depend on the economic logic, they are continuously threatened during urban changes. Therefore, the purpose of this paper is to recognize modern western style architecture as valuable things, which represents color of urban, and to seek how it can be reused. This is a process in order to find a new method for conservation and reuse of modern western style architecture. The result are as followings. Modern western style architecture must be recognized as resource, which expresses identity of urban, and found a method for conservation and reuse of facade at least. So we need to search design characteristics of facade. It has been analyzed that assigned modem western style architecture in seoul can be divided into 6 groups. Each group has individual characteristics of facade expression, which is 'dormer', 'vent', 'balustrade', 'cornice', 'dome', 'tower', etc in top part, and 'the shape of window and door', 'the element of ornament', 'finish', etc in middle part.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.54-55
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• 2000

근대 사회의 보편적인 건축의 언어를 창출하려던 모더니즘의 신화가 무너지고 난 후에, 새로운 보편적 건축양식을 찾아보려는 노력은 현재까지 계속되어오고 있으나 현대건축에서 공유할 수 있는 보편적 건축어휘는 부재한 상황이다. 현대의 건축가들은 각자의 건축적 언어체계를 만들어내려는 노력과 더불어 여러 방면의 건축적 실험을 통해 새로운 건축의 규범을 정의하려는 노력에도 경주하고 있다. (중략)

• Korean Institute of Interior Design Journal
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• no.13
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• pp.50-59
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• 1997

The purpose of this study is to arrange the modification and the changes of modern fniture in Korea. The results of this study are as follows: 1) The style of traditional furniture was influenced by changes in class structure and social system, an increase in Honsu norms in terms of both quantity and quality, family, marrige, housing patterns, and behavioral patterns etc. 2) Modern furniture in Korea devided into two groups, one was traditiional group of innovative function and scale, the other was electing group of Japanase or Western style. 3) Due to the Honsu norms, Wedding furniture items became more various in kind. Jangrong has been an essential Wedding furniture items since moderv.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..

• Korean Institute of Interior Design Journal
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• no.8
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• pp.16-22
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• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.106-116
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• 2017

In the 1900s, the cultural crossing of East and West was realized through the acceptance and reproduction of culture. Cultural change in the Orient was the result of attempts to harmonize the West's images, which they chose in their respective countries, with their own culture. However, research on design history until now has been centered on the West, and East was regarded as a beneficiary of civilization inherited from Western's. From the point of view of Western design history as a main trend, the unique characteristics of Korean design culture are not revealed. Therefore, through this studies, we want to distinguish Korea's modern design, which has been recognized as a minority. For the study, through the wallpaper, which is one of the detailed components of the interior space in modern times, we try to analyze the socio - cultural historical factors and design characteristics influencing the formation of the interior space in modern times. Summarizing a result of research. The early modern wallpaper of England mainly uses plants as motifs. But In Korea, animal patterns and letter patterns were used. The reason why European wallpaper was mainly a plant at the time was that the structure of the motif was useful for the process of creation. However, in the case of the Korean wallpaper pattern, the theme was selected according to the meaning of the motif, and it was abstracted appropriately for the 2D design. As a result, many geometric shapes were formed. In addition, European wallpaper pattern is more complex and organic than Korean wallpaper pattern. Therefore, the boundary of the central pattern as the basic unit is unclear and the patterns are connected. The pattern development method is not a simple repetition but a combination of symmetry and repetition. In Korea, on the other hand, the boundaries of unit patterns are clear and patterns are developed by simple repetition. There are many diamond-type repeating patterns in particular.

• Journal of agriculture & life science
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• v.45 no.6
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• pp.21-32
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• 2011

This research is intended to study literatures relating to western rocking chairs style in early 20th century in order to provide basic data of designs for rockers of today in Korea and investigate characteristics of rocking chair from academic, formative and pragmatic perspectives. During the first half of 20th century, western rocking chairs (1925~1945) embodied actively the simple functionalism concept that furniture design must follow functionality considerations. Therefore, bare wood rocking chairs were without any surface decoration and tubular steel frame rocking chairs often included black leather upholstery in a bold attempt to express exposed structure. And the fact that tubular steel produced such lightweight furniture was crucial importance. Many Modernist designer created curvaceous lines of new pattern changes in their furniture. The structure of Modern rocking chair became all-important, for stylistic as well as functional reasons. Designers equated exposed structure of tubular steel and wooden frame with integrity and rationality and create an equalitarian style of design. Especially, designers in the early 20th century did use various brilliantly colored upholstery and wooden frame with simple forms of modern characteristics.

• Archives of design research
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• v.20
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• pp.99-109
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• 1997

The Bauhaus movement can be said to be the by-product of forming work pursued through the method of constituents even under endless discord between the so-called modern ages and anti-modern ages rather than to say that it was progressed consistently on the assumption of a design. Accordingly, all instruments of Bauhaus education which contributed to form the source of the modern ages realized educational value related to the actual problem at the point of time when the student evercomes all internal and production can be managed most effectively under one system was originated inevitably. The most exential point of the work of Bauhaus workshop is the fact that all products show homogeneity as time passes, which is appeared as the result of the spirit of consciously developed community based on cooperation between various characters and personalities. Also, the homogeneity does not exist in formative detailed aspect appeared externally but in the basis of effort having produced things simply and faithfully, and on the other hand, in accordance with essential rule. Therefore, the original form of Bauhaus products can be said not to be fashionable but the crystal of work process at the workshop through much thought and contemplation in view of endowed form following art, technology and economy.

• Archives of design research
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• v.18 no.2 s.60
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• pp.27-36
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• 2005

Illustrations in advertisement uses various social and cultural codes to stimulate the desire to buy in consumers in the first place, since this is an economic phenomenon orchestrated to sell a product. Hence, factors outside the product per se, such as tradition, social issues and class consciousness are introduced. Especially, in modern advertisement a strategy is adopted to differentiate standard products produced by mass production. In order to do so, such factors as mentioned above become as important as physical characteristics of the product per se and its usage value. As a result, phrases or images used for advertisement can have independent influences on the society irrespective of the sales effects on the product. In this respect, it is fair to state that advertisement reflects the phases and consciousness of a given period as a cultural phenomenon. Therefore, based on the premise of characteristics and roles attributed to the advertisement, this thesis proposes to make a comparative study on the images of women in commercial advertisement in Korea during Japanese Imperialism and China during Cultural Colonial period dating from 1900 to 1945. The starting point of this research will cover the period of foreign trade and Japanese Imperialism in Korea and interference of Western Power in China. It will also investigate on the birth of Korean advertisement by Japanese Imperialists and Chinese modern advertisement along with the modernization of Shanghai. Then, I propose to present the illustrations of women in advertisements based on comparative study of their characteristics and expressions as observed in several case studies both in Korea and China. Connotative meanings in such advertisement will be investigated in the context of political, economic and cultural dominance.