• Archives of design research
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• v.21
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• pp.55-64
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• 1997

This paper is a study on the 'primitivism' which is constantly being applied on modem and contemporary textile design as a aItanative expression of the serious environmental phenomena of materialism. Starting with the analyzation of the 'concept of primitivism' , this paper is to research the 'origin of primitivism' which was first recognized by the modem artists. Primitivism on modem textile design will be suggested through 'trend terms'. The purpose of this paper is to be a basic material source for the creative development in design as well as to be of help in development of theoretical the study on contemporary textile design.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.14-15
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• 1995

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.6-7
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• 2002

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.120-121
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• 2001

• The monthly packaging world
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• s.67
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• pp.88-91
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• 1998

현대는 소지자 중심 시대로써 자기만의 독특한 스타일을 지향하며 창조적인 소비생활을 해나가고 있다. 화장품 패키지디자인도 기존의 내용물 보호와 유통상의 개념보다는 판매촉진과 함께 부가가치를 높이는 요소로 인식이 바뀌었다. 이에 따라 화장품 디자인의 변천과정과 최근의 경향을 통해 향후 화장품 디자인 전개방향을 알아본다.

• Korean Architects
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• no.2 s.191
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• pp.58-61
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• 1985

• Korean Architects
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• no.11 s.129
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• pp.5-10
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• 1979

• Korean Architects
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• no.10 s.104
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• pp.13-17
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• 1977

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.