• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
• /
• pp.98-101
• /
• 2004

A new kind of tide is rising in the area of architecture nowadays, and the young architects throughout the world are making their move here and there. This acquires a new trend in viewing new kinds of constructions. Following study is to analyze relationship between abstract arts and the formative characteristics of contemporary architecture. Architecture, as with pictures and sculptures, are traditionally in the category of art. The flow of pictures that had mostly given influence to modern architecture should be cubist and futurist of early 20C. Although cubists had given much importance to shape itself and futurists had given much thoughts to conceptual basis, which is mind of the century and flow of cultural aspects, these two movements had risen at almost the same time and have established two of most famous views of avante-garde, which is geometrical abstraction and mechanical beautism. These characteristics of abstraction arts had given much influence to modern architecture in point of shape both in and out and had become the reason of searching for the new style of architecture which could represent the culture and minds of the time.

• 한국의상디자인학회지
• /
• 제24권1호
• /
• pp.99-112
• /
• 2022

This study analyzed how Kruchenikh's opera, "Victory over the Sun", performed in Saint Petersburg, Russia, in 1913, contributed to the birth of Malevich's Suprematism in 1915, and how the forms and features of the costumes were expressed in the opera's content. The results of the study are as follows: First, the theoretical background of the opera, "Victory over the Sun" was limited to Suprematism and non-objective art, which was divided into analytical cubism, cubo-futurism, and Uspensky's four-dimensional concept of space. Second, to reveal that Suprematism, appeared in the form of non-objective abstract art, was possible with the set and costume design of "Victory over the Sun," the set design was analyzed. Third, to reveal that Malevich's Suprematism was influenced by "Victory over the Sun," the study considered the characteristics of Suprematism in "Victory over the Sun". Finally, Malevich's Suprematism art costumes expressed in "Victory over the Sun" were divided into geometric spatial structures, images of black & white, mechanical human images, and images of warriors and the characteristics of each costume were considered. Malevich's "Victory over the Sun" showed a significant impact not only on the birth of Suprematism but also on the development of the non-objective art & costumes.

• 한국의류산업학회지
• /
• 제14권4호
• /
• pp.519-531
• /
• 2012

This study comprehends the various expressions of Lady Gaga's fashion style based on Craig Owens's Allegory theory. This study analyzed four application elements of Borrow, Site Specificity, Accumulate of Strategy, and Hybridization in addition, it studied all aspects of the aesthetic value of Lady GaGa (an influential popular culture icon). It was classified in the external representation of the fashion style for the aesthetic value. The results are summarized as follows: First, 'Borrow' of the singers of the 80's music and fashion style present from her elders and visual homage to shock artists. It influenced her fans with a difference in viewpoint for a star's fashion that subsequently resulted in a deformation of form, playful kitsch style, and mixed gender. Second, 'Site specificity' presents an extreme make over through an intentional and grotesques fashion style to extend physical territory and defenseless. The results remove stereotypes and reveal deconstructive performances. Third, 'Accumulate of strategy' simultaneously presents voluptuous beauty, futurism, and avant-garde style. This shows the countercultural tendency through the random repetition of fashion images and layerd coordination. Finally, 'Hybridization' presents multiful fashion style through a collaboration with world-famous designers and cosmetic brands. She expressed a diverse and complex fashion style composed of an art form that combines a high-tech cyborg image. The aesthetic values of Lady Gaga' fashion style are 'ambivalence virtuality', 'Transcendental mixed gender', 'plural textuality', and 'unexpected play culture'.

• 패션비즈니스
• /
• 제11권4호
• /
• pp.52-68
• /
• 2007

[ $Courr{\grave{e}}ges$ ]Look style has been showing up continuously since 1980s in the fashion world. In response to that, this study aimed to look into the trend of design in 1960s and examine the formative artistic characteristics in $Courr{\grave{e}}ges$ Look in order to explore the $Courr{\grave{e}}ges$ Look of Andre Courregs. Following the flow of the times, the $Courr{\grave{e}}ges$'s design has transformed and developed through the styles of the pants suit look, the space age look, the mini look and the sporty look. His own style constructed by simple line like a mini skirts, accurate rates, geometric patterns, high tech materials, vivid color and etc, in 1960s. He has also innovated the fields of textile, garment cutting, details, and accessories. The $Courr{\grave{e}}ges$ Style was expressed by pure&avant-garde style, sporty&modern style, cheerful&reveal style and dynamic&funny style. Functionality with humor to $Courr{\grave{e}}ges$ was an important element that expresses both youth and casual. For the active, new woman, not only a funtional beauty but also a futuristic sensibility is expressed in the $Courr{\grave{e}}ges$ Style.

• 복식
• /
• 제51권4호
• /
• pp.71-80
• /
• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• 한국의류학회지
• /
• 제25권9호
• /
• pp.1645-1654
• /
• 2001

패션은 지속적으로 변화하며 이는 새로운 패션 트렌드의 출현을 의미한다. 특히 지난 1990년대 패션은 사회, 과학, 경제, 문화 등 사회환경의 급격한 변화로 새롭고 다양한 가치의 추구로 패션분야에서도 새로운 것에 대한 욕구가 급증하였다. 따라서 본 연구는 1990년대 패션 트렌드를 분석하여 패션의 특성을 파악하여 미래의 패션을 예측하고 대응하기 위한 자료를 구축하는 것을 목적으로 하였다. 패션트렌드는 향후 예측되는 유행테마, 스타일, 색채 , 소재 , 디테일 등을 제시하고 있는데 , 본 연구에서는 시대상을 보다 심층적으로 파악하기 위하여 패션테마만을 집중적으로 분석하고 고찰하였다. 일반적으로 패션테마로 제시되는 개념 이 나 용어들은 동시대의 사회현상과 패션 분야에서 요구될 것으로 예상되는 내용이 비교적 자유분방하게 제 시 하고 있으므로, 패션 테마의 분석과 고찰은 패션의 실체를 이해하는데 매우 유용하다 하겠다. 따라서 본 연구에서는 패션테마로 제시된 용어들을 수집하고 분석하여 , 패션경향는 물론 패션의 실체를 파악하고자 하였다. 연구 대상은 1990년대 10년간의 패션트렌드로 설정했으며, 분석자료는 구체적으로 국내패션정보사인 K·F·S와 S· F·I에서 제시한 트렌드지를 사용하였다. 연구결과 1990년대 패션은 종래의 상식적인 디자인 개념을 넘어서서 여러 가지 다채로운 스타일들이 역사적 시간과 여러 문화의 공간을 오가며 교류되는 포스트모더니즘적 인 특성을 강하게 나타냈으며 , 이러한 경향은 매우 깊고 광범위하게 1990년대 의 패션트렌드에 반영되어 나타났다. 최근의 첨단 과학 기술의 발달과 이에 반하는 자연으로의 회귀욕구와 인간의 본질을 추구하는 인식의 전환 또한 패션 트랜드에 영향을 주었다. 이들을 포용하는 패션 주제는 크게 자연주의, 세계주의, 미래주의, 복고주의 등으로 분석되었다. 이 와 같은 패션 테마들은 각각 독립 적 이 기보다는 서로 상호 보완하고 조화를 이루는 가운데 1990년대 패션으로 형상화되었다. 이러한 1990년대 패션 경향의 분석 결과는 동시대의 사회상을 반영하는 동시에 패션의 특징인 주기성과 반복성을 그대로 보여주고 있었다. 이러한 연구 결과는 패션의 특징을 파악하고, 21세기 패션 경향을 보다 정확하게 예측하고 제시할 수 있는 중요한 자료로 사용될 수 있을 것으로 기대한다.

• 조형예술학연구
• /
• 제3권
• /
• pp.62-86
• /
• 2001

This study is based on theoretical background about movements of visual communication highlighted in digital age. Such movements are variously expressed in animation with the advancement of media, and their expression has great effect on visual art. Artists' concern and endeavor about movement expression techniques have been continued by impressionism, expressionism, futurism, cubism closely related with the birth of movie from late 19th century to early 20th century. At that time, stationary 2D space in plane screen couldn't express movement or time directly. Later, artists and designers have attempted to approach illusions in pictures or 4 dimension and movements by 2D or 3D computer graphics. The visual image in present digital age is to see, to hear, to feel by timing, so it is necessary for the most efficient way of message communication. And then, it is the time to start new, scientific, and creative study about production techniques of animation and expression of movements, since domestic animation productions are rapidly changed from cell to digital. The aim of this study is to clarify the motive of movement by theoretical inquiry of animation. Various aspects of animation as synthetic art have been examined by mathematical, scientific, and philosophical viewpoint. The results will be useful to the expression of motions for maximization of emotional effect in animation production or basic data of virtual simulation about certain situation. Therefore, such study should be managed as multidisciplinary research in the rapidly changing visual culture paradigm. namely, animation includes much more imaginative & creative power than simple function or techniques, so it has to be recognized as special synthetic art(visual art) constructing an area, the formative art with philosophical viewpoint and scientific principles.

• 한국의상디자인학회지
• /
• 제7권2호
• /
• pp.159-170
• /
• 2005

In this paper we examine the patterns of the subcultural fashion styles in the 20th century in terms of various subcultures in the period. First, we define the concept of the subcultural fashion styles and in turn, examine the subcultural fashion styles from 1950s to 1990s while focusing on the way each generation resisted against the mainstream through its styles. The subcultural fashion styles examined and analyzed in this study are mainly British and American styles. some of European and Western Indian styles are also included. In this paper, a subcultural fashion style is understood as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity. And as a result, it is realized in a form of a fashion with its repressed subconsciousness, with resistance to the alienation from the society, and with deviation from the normative ethics and the morality of a society. In conclusion, we classify the subcultural fashion styles into two patterns based on their form of resistance which tries to distance itself from the ritual code of the day: the dressing of the escape from time and the dressing of the escape from space. The first pattern is characterized by nostalgia or futurism, and includes psychedelic, rastafarian, raver, techno style. The second Pattern includes surfer, folky, hippy, new age traveller, cyberpunk style. Especially, an emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space.

• 미술이론과 현장
• /
• 제9호
• /
• pp.151-170
• /
• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• 한국가구학회지
• /
• 제19권6호
• /
• pp.439-446
• /
• 2008

High Tech Design manner is a design concept that had been constantly discussed in constitution process of the West art history and modem ideology and had been experimented in industry, having started from futurism and structuralism in the early 20th century through Kinetic Art & Technology Art and up to now. High Tech Design had a great influence also on Post Modernism and more important is that this manner of design will be existing continually in the future too. From the modem times when machine civilization started, the artist and designers expressed a utopia will showing the future world with help of High Tech Design and modem people are realizing technology images as a utopia, in the space and material presented by this high tech design. And this utopia imply the images of dynamic power, speed making a voyage in universe, dream of future, hope, mass production, earth's environment, wealth etc. High Tech furniture was lightly designed by using thin steel wire, structure stressing the metallic characteristic and tempered glass, and it was used for presenting a convenient interior space visually, and with that it can make a unified sense in High Tech interior space, and a contrary effect compared with minimal space. High Tech Design equipped with glass and metal materials looking inappropriate for our interior space due to their sharp and cold image has been regularly used as living furniture, not only decoration function, and then there must be reasons for that. This study intends to research how High Tech Design has been changed and developed in the design history & West art history from the early 20th century, and to present it's value of development as data orienting, namely a direction for the industry of the next-generation and furniture design.