• Archives of design research
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• v.14
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• pp.121-138
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• 1996

The purpose of this study is to develop a new architectural language and design strategies that would anticipate and incorporate new historical situations and new paradigms to understand the world. It consists of four sections as follows: First, it presents a new interpretation of space, human body, and movement that we find in modern art and tries to combine that new artistic insight with environmental design to provide a theoretical basis for performance-event architecture. Second, it conceives of architectural environment as a combination of space, movement, and probabilistic situations rather than a mere conglomeration of material. It also perceives the environment as a stage for performance and the act of designing as a performance. Third, in this context, man is conceived of as an organic system that responds to, interacts with, and adapts himself to his environment through self-regulation. By the same token, architecture should be a dynamic system that undergoes a constant transformation in its attempt to accommodate human actions and behaviors as he copes with the contemporary philosophy characterized by the principle of uncertainty, fast-changing society, and the new developments in technology. Fourth, the relativistic and organic view-point that constitutes the background for all this is radically different from the causalistic and mechanistic view that characterized the forms and functions of modernistic design. The present study places a great emphases on dematerialistic conception of environment and puts forth a disprogramming method that would accommodate interchangeability in the passage of time and the intertextuality of form and function. In the event, performance-event architecture is a strategy based on the systems world-view that would enable the recovery of man's autonomy and the reconception of his environment as an object of art.

• Archives of design research
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• v.11
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• pp.130-139
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• 1995

The dictionary defines the word 'Design' as planning and designing. Though this is a meaning confined to decorative function, the conception of modern design in this capitalist society of mass production and mass consumption can be said to have reached a new stage of the meeting of industry and the arts. This means the two sides of design' the side of beauty and usefulness The side of beauty should be understood in view of the sense of beauty, and usefulness should also be considered from the viewpoint of consumer's taste and preference This is thought to be the natural problems of design The origin of design can be understood from the background of capitalism. But the capitalism can be said to be the mode of Western thought and action developed based on Western thinking. The capitalism is an economic system derived from the society of industrial capitalism through commercial capitalism. but this economic thinking has been resulted from a mature social system of democracy and civic society. The civic society and democracy are derived from polis of ancient Greece and Rome. and the ancient Greek and Roman society was a society developed from the social system of the nobility and slaves. Polis continued to develop based on the positive territorial expansionism centering around the Mediterranean on the basis of Hellenism. and European countries achieved the intergration of religion. society and politics based on this. thus accomplishing the spirit of capitalism Our design is believed to have been derived from the direct import of Western capitalism. Accordingly. as the original form of Western capitalism has become our economic system. so our design copied that of th West. And our traditional culture and sensitivity which are different in the original form and root of racial disposition seem to breed discord between them. It is. therefore. very important and meaningful for us to exert all possible efforts to seek the root of our disposition and tradition and grope for the appropriate thought and style of design.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.763-770
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• 2023

In today's modern fashion industry, along with the Fourth Industrial Revolution, the digital fashion industry using new technologies such as AR (Augmented Reality), VR (Virtual Reality), and Metaverse is gradually expanding. Accordingly, in the field of fashion design education, a new form of fashion illustration using VR technology is attracting attention as a new expression method. Recently, the use of digital tools such as iPads is gradually increasing in the field of education at universities majoring in fashion design, and students' interest in new digital tools is continuously increasing in the process of fashion illustration work. Therefore, this study implements fashion illustration using VR technology, which has been commercialized and popularized in the fashion industry, analyzes the differentiated characteristics compared to fashion illustration completed with iPad, and explores the possibility of using VR technology for fashion illustration as a new expression tool. We looked at the limitations. Through this study, it was found that VR is a positive help to fashion illustration to express the conception and overall connectivity in the three-dimensional aspect of fashion design, and the iPad was found to be suitable for specific and delicate fashion illustration expression. The results of this study are intended to provide basic data for fashion illustration education that can increase students' interest and achievement.