• 한국실내디자인학회논문집
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• 제21권6호
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• pp.100-108
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• 2012

Modern architecture tends to split the everyday life and the space of human. Position of architecture should be on the relationship between nature and human need. It will be study on the everyday life of architecture from architecture and everyday life of human relationships. Based on this study, it makes clear the visual aspects of architectural experience to acquire spatial tones for analyzing architectural Everyday-ness. In this case, Portugal's modern architectural space was impressing, because of the construction of local color and architectural vocabulary of the Everyday-ness. Therefore, the Everyday-ness of Architecture by relationship analysis reveals the space of these spatial tones. Spatial characteristics of the Everyday-ness of architecture be analyzed of simplicity, purity, locality, reminiscent, continuity, and transition, etc. Expression elements of spatial tones can be derived into five classes such as light, color, material, pattern (texture), and depth. In conclusion, spatial characteristics of the Everyday-ness and expression elements of spatial tones consist of configuration matrixes to analyze the spatial tones of the contemporary architecture in Portugal. As a result of this study, the expression characteristics of spatial tones of contemporary architecture in Portugal are background-ness, one-ness, and inherence. I hope this study will be applied to the basic data of the architectural Everyday-ness.

• 한국산학기술학회논문지
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• 제10권4호
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• pp.846-851
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• 2009

근대사회의 형성은 과거의 공간을 변화시켰을 뿐만 아니라 새로운 내용과 형식의 공간도 등장시켰다. 근대 사회를 통해 등장한 새로운 공간들은 건축과 도시 속으로 흡수되면서 공간에 대한 과거의 전통적인 인식에 변화를 가져왔다. 이러한 맥락에서 볼 때, 근대 형성기의 건축과 공간은 근대건축의 원형으로서 20세기의 근대건축과 공간을 이해하는 중요한 단서가 된다. 본 연구는 이와 같은 문제의식 하에, 근대적 공간과 그 인식의 형성을 풍경식 정원을 통해 살펴보고자 한다. 본 연구에서 풍경식 정원을 주목하는 이유는 풍경식 정원이 18세기말부터 사회의 주도적인 과제가 되었던 몇 개의 주제들 중 하나로서 유럽 전체에 영향을 미쳤기 때문이다. 따라서 풍경식 정원을 분석함으로써 유럽 전체에 나타나는 공통적이고 일반적인 근대적 공간인식을 파악할 수 있다.

• 한국가구학회지
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• 제28권1호
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• pp.80-87
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• 2017

As modern society attaches important to a value in mental aspect and characteristics of consumers who become diverse and individualistic, lighting design also changes closely with everyday life. This study suggests a new concept of indoor lighting design, combining natural objects with lattice and Korean paper, one of our representative traditional materials in lighting design used in everyday life. In particular, it was designed with aesthetic sense of traditional culture and Korean sentiment besides external effect and function by combining Korean paper with natural objects such as insect and plant, material that could be easily obtain around us. As a result, it is intended to enhance quality of life and pursue happiness by suggesting a new concept of lighting design which is modern, harmonizes with everyday life of modern humans who become individualistic, and can arouse sensibility, overcoming the limitations of traditional lighting in indoor lighting.

• 대한가정학회지
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• 제44권8호
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• pp.181-198
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• 2006

The purpose of this study is to understand modernization process of korean housing during the past one century. To following up the changes of everyday lives of common peoples, magazines, news papers, tourist's records and gossip items were collected and interpreted from the microscopic point of view. In this study arguments on 'modernity' of korean housing was focused on some issues, thus, separation, differentiation, individualization, as well as privatization. Concrete discourses are; firstly, spatial isolation of housing and urban place each other, secondly, functional division of inner spaces of housing, and lastly, guarantee of privacy sphere. Historical changes of housing showed some meaningful phenomena. Before modernization housing was place of reproduction and consume at the same time. However after modern urban space came into existence and work and rest were separated, housing gained only mono function. Thus, housing have only one meaning as private place for nuclear family, that is "Home, Sweet Home." Instead of past multi-functional rooms, functional prescribed rooms, for example, dinning room, were newly born. In the past, the boundary between public and private sphere was not clear. For examples, everyday experiences of family were extended to the street and in the house in most cases spaces were shared. But after modernization the scale of individual spaces become larger and private life can be secured. Consequently, history of everyday life from traditional agricultural society to industrialized modern society demonstrates the structural context between the micro and macro dimension in the fields of human life. In other words, everyday lives and macro history response each other and create new perception of time-space structure in the modern housing.

• 트랜스-
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• 제3권
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• pp.109-135
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• 2017

본 논문의 목적은 스티브 팩스톤의 작품에서 드러난 일상적 움직임 특성을 분석하는 것이다. 예술작품은 오랜 시간동안 고급문화로서 높은 계층의 사람들에게만 향유되는 특별한 대상으로서 인식되어왔다. 일상과 예술의 간극은 크게 존재해왔고 때문에 예술작품에서 일상적인 요소의 출현은 사회적 변화를 수반한 대중의 인식전환을 의미한다. 예술과 일상의 경계가 불분명해지는 시대로서 포스트모더니즘의 시대는 2차 세계대전 이후의 전후사회 그리고 후기 자본주의사회로서 급변하는 정세를 배경으로 가진다. 이 시기의 변화는 학자들에게 일상과 관련한 개념들을 학문적으로 접근하게 하는 계기가 되어졌으며 예술가들에게는 총체성을 거부하는 다원주의 성향의 포스트모더니즘의 시대정신으로서 영향을 미쳤다. 같은 시기 현대 무용역시 포스트모던댄스로의 전환기를 맞이하게 되었다. 2차 세계대전 이후 현대무용은 그 한계점에 도달한 것으로 평가되기 시작했으며 이러한 상황에서 저드슨 댄스 씨어터를 비롯한 무용가들을 필두로 포스트모던댄스는 전개되었다. 저드슨 댄스의 설립자 중 한 명인 스티브 팩스톤은 머스 커닝햄의 무용수로 활동을 하며 움직임이 생성되는 과정과 계급적인 사회구조를 지닌 무용단의 생태에 문제의식을 가지게 되었다. 이러한 그의 사고는 일상적인 동작을 그대로 작품에 실현하는 시도로서 초기 작품 활동에 드러난다. 일상적인 동작의 활용이 포스트모던댄스의 공공연한 특징으로 간주되어지고 있음에도 이에 주목한 선행연구가 드물다는 점, 그리고 팩스톤 관련 연구들은 접촉즉흥에 관련한 것으로 편향되어 있다는 것에서 본 연구는 시작되었다. 때문에 접촉즉흥 기법에 치중하기 이전 일상적인 동작의 사용으로서 작품활동을 시작한 것에 주목하여 그 연결선상으로서 이후의 작품들을 살펴볼 것이다. 본 연구는 팩스톤의 작품인 ,,를 분석하고 이를 토대로 일상적 특성을 도출하였다. 일상에 관련한 개념을 고찰하고 포스트모던댄스의 무용사적 흐름을 파악하기 위하여 관련 저서와 학술 논문, 무용기사 및 평론을 참고하여 진행하였다. 팩스톤은 무용적 정제를 거치지 않은 일상에서의 동작을 작품에 그대로 차용하였으며 그 시작으로 보행동작은 비무용수인 공연자들의 보행으로서 일상적인 움직임에 미적 의의를 부여하였다. 팩스톤이 심취한 접촉즉흥의 움직임 역시 자연스러운 에너지의 흐름을 중시하는 것으로 일상적인 측면을 지니며 이후의 작품인 에서도 그는 이완된 신체로 평범한 동작들을 선보였다. 작품에 등장한 일상적 움직임의 특성은 반복되는 삶에서의 실천과 특별하지 않은 평범한 것이라는 기준으로서 분석되었다. 그의 작품에 내재된 일상적 움직임은 한 시대의 무용장르의 변화를 비롯하여 전통적으로 유지되어온 무용예술 작품에 관한 인식의 전환을 대변하는 것이다. 파격적인 시도와 실험성으로 점철된 그의 활동은 현대무용이 지녔던 한계점을 극복하기 위한 노력으로서 보다 높게 평가 되어져야 할 것이다.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.124-134
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• 2011

The space has been interpreted from various perspectives, such as hierarchical, cultural, economic, political factors, etc. So we can see the space as a social existence. Space is now being formed through the dialectical relations of these elements. From this point of view, this study started to research the spatial practice of morden people through the case in the early 20th century film. With the discourse of Henri Lefebvre and David Harvey, and Michel de Certeau's theory, this research tried to find the mechanisms of spatial practice. Also Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. Modern people were individual unawared of the era, awakened to the ego. They were wandering the room and the street, private and public places. They were city dwellers walking around, collecting goods, and living of everyday life. Spatial practice is a fixed activity and have continuity. spatial practice appeared in the early 20th century film is at the intersection of social practices and the practice of everyday life. Social practices are a fixed practice and continuous practice. The practices of everyday life are nomadic practice and amusable practice. Modern people accommodate and adapt to a given space of the city through fixed practice. They realizes the access and the distance from spaces through continuous practice. They select and approved the spaces through nomadic practice. And they possess exclusively and utilize the spaces through amusable practice. Through These research spatial practices, it could easily found similarities and differences between modern space on the early 20th century and contemporary space of 21st century. True modern is not the past but the present.

• 만화애니메이션 연구
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• 통권27호
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• pp.1-30
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• 2012

오시이 마모루에 대한 연구는 대체로 그의 작품들이 현실의 황폐함을 '폐허'의 이미지로 재현하고 있다는데 집중해 왔다. 또 오시이 마모루의 애니메이션이 점점 디자인적으로 '현실미'를 드러내기 위해 발전해 갔다고도 주장해 왔다. 그러나 본 연구는 그의 작품이 근대적 자본주의의 억압된 '현대세계'를 벗어날 수 있는, 전복의 가능성을 모색하고 있음에 주목하고자 한다. 이를 위해 <스카이 크롤러>(The Sky Crawlers)를 공간, 신체, 일상성 세 가지 층위로 나누어 분석했다. 2장에서는 <스카이 크롤러>의 공간이 근대적이고 기계적인 빈틈없이 자본화된 공간이자 '반복'의 성질을 지닌 폐쇄된 회로와 같은 공간임을 분석했다. 3장에서는 캐릭터 신체의 측면에서 <스카이 크롤러>가 '키르도레'(Kildren)라는 인간과 비인간의 사이에서 유동하는 신체를 제시하고 있으며 이를 통해 현대세계의 자본화되고 물화된 신체를 재현하고 있다고 분석했다. 또 그 신체가 처한 극단적 불안이 현대세계의 노동 유연화에 따른 '불안'과 '장소상실' 현상을 반영하고 있음을 밝혀 보았다. 4장에서는 미장센과 디자인 그리고 연출의 측면에서 현대세계의 '일상성'이 신체에 남긴 '기억'과 '습관'의 측면을 분석했다. 5장에서는 이런 현대세계에 대한 현실 인식을 바탕으로 오시이 마모루가 근대공간에서 어떻게 '도주'하고자 하는가를, 근대적 일상을 어떻게 '전유'하려 하는지를 살펴보았다. 6장 결론에서는 이러한 오시이 마모루의 작품이 지닌 의미와 가치를 해석해 보았다.

• 복식
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• 제57권9호
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• pp.49-66
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• 2007

Trench coat derived from military uniforms was one of the classical fashion items and has been endeared as everyday outfits thanks to useful traits. Since 1990s classical design of trench coat began to be modified and many variant styles were appeared after 2000s. Trench coat designs after 2000s were appeared as tradition type that was stick to basic British classic style, variation type that was changed in details, colors, materials, and silhouettes, evolution type that was changed into new items, deconstruction type that was dissolved and open-structured. Modern trench coat expressed modern chic, elegance feminine, stylish casual, military and gangster images. The characteristics of trench coat as classic fashion were utility for everyday life style, excellent ability to express images, and strong visual effects of characteristic details. Trench coat was timeless as classic fashion, at the same time, changed into new fashion styles suitable for the sense of the times.

• 복식
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• 제47권
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• 복식문화연구
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• 제7권6호
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• pp.98-115
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• 1999

As sports infiltrates each field of modern society and becomes familiar, sports wear was changed functionally and was introduced and enveloped into everyday dress. Modern sports wear has been the settled in everyday life deeply and become the clothes of life which are worn regardless of place, time and age. The aim of this paper was to clarify what kind of fashion of sports style would be given to the modern people. In this study, sports wear which has become everyday dress classified from a gender point of view. It was divided into masculine image, feminine image, and neutral image. Sports wear of masculine image generated a silhouette which emphasized the shoulder with the aspiration for youth and health. Wide shoulder was considered as the symbol of masculine beauty and the expression of healthy beauty. It was reflected well in body conscious look. And owing to the development of up-to-data materials, innovation of design, and the study of human body technology, the functional character was settled in the sports wear which showed masculine image. Sports wear of feminine image was represented fashion of body exposure, body feet with body conscious look, and romantic mode. This image was expressed fashion as comforts, pleasant, active design, materials, color, and romantic feminine beauty. Sports wear of neutral image was expressed into unisex clothes. This cloths have no difference in gender, age, and class. It was used as casual sports wear. In the 1960s, young generation participated in such street sports as street basketball and skate. They usually sore the sports wears of neutral image such as cycling, skating, and ski. In the materials of sports, the development of up-to-data material like lycra made the sayings lifelike, “up-to-data material is the second skin” It show that glamorous feminine image and strong masculine image coexisted. The contemporary concept of sportswear is no longer limited to those clothes for sports found in such places like tennis court or swimming pool. Now, the sports wear become more like casual activity wear all classes of people can enjoy in their life regardless of where they are, when they wear, and even how old they are.