• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.187-191
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• 2003

Modern interior design is expanding diversely, with the rapid development of technology and change of era. The basic of interior space that is rapidly changing consists of floor, wall and ceiling, and these are formed by materials, materials for structure or finishing materials. In the modern interior space, materials are utilized to present an atmosphere that meets the trend of the dissolution of post-modernism and the trend of minimalism. Accordingly, in this study, designers who take serious view on the relation of space and material, and the relation focusing on completed works, in modern interior design were investigated. The interrelation of the representation of each material, organic space, minimal space, and the space of Oriental fusion style were investigated through the works of modern interior designers, such as Karim Rashid and Ettore Sottsass.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.193-204
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• 2005

Design took a radical turn in the 1980's, deconstructing the rigid ideology of the Modernism, often with great humor. Contemporary representable Avant-garde designers, Philippe Starck and Ron Arad brazenly borrowed from the 'historical elements' of previous styles and created bio-morphic forms with whimsical names of furniture. This study is proposed to understand the diversity of contemporary design, by comparing these two furniture designers. It also covers the common factors in contemporary furniture design, and analyzes their individual differences and similarities in design. It helps to plan the foundation of design methods for 21C, and predict and respond to the future as a reference point. Philippe Starck links Romantic Rationalism within Minimal style and Ron Arad links Deconstructivism within High-tech style but both of them pursue of Organic concept design in their furniture through the concept of humanism. They are able to establish a base of contemporary furniture design by adapting new conceptual form, and design process for the general public.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.81-89
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• 2001

Scandinavian countries have hold tradition shared historically and culturally in common, brought the weighty traditional thoughts enabled to develop their unique culture. Since 1940s, Scandinavian design could pervade with affectionate forms and practical effectiveness with worldwide popularity. It was brought by creation of new and useful forms for the convenience in life, functionalism but not bounded by fashion of it. This study tried into the meaning of their history of modern furnishings design based on the development background of furnishings design, its trends, designers and their work focused around Sweden, Finland, and Denmark. Scandinavian furnishings is a functional furnishings reconciled to natural material and human life exactly correspond to the taste of the generation unrestricted from the tradition of contemporary and compact design preference or classic favored preference. The practicality and exquisite techniques of Scandinavian furnishings lies within the realm of possibility for studiously love of the world.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.13-22
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• 2011

The purpose of this study is to analyze Alva Aalto's libraries for understanding his efficient induction of natural light. To fulfill this purpose, Alvar Aalto's thought about library and natural light are examined through his working years and building types. The comparison of his libraries on usage of natural light shows different ways of natural light induction based on different locations and programs of libraries. Similarities and differences of Alvar Aalto's library architecture have strong relationship to the usage of natural light in libraries because Alvar Aalto himself regard reading as the core function of library and the efficient use of natural light is the main key of reading. In his natural light planning, regional characteristics including environmental factors and programmatic differences act as a basic standard for natural light plan. Especially, altitude of sun and its path, seasonal features affect the induction way of natural light. While conical skylights used at Viipuri library shows the characteristics of universality in Modernism architecture, later libraries presents not only various kinds of pan-shape plan but different ways of inducing natural light in according to appropriate function. From conical skylight to monitor with curved reflection wall make it possible shed diffused light to reading space and this affects to form Alvar Aalto's organic architecture. As a result, using natural light in Alvar Aalto's library architecture act as the core of forming library concepts and their development.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.1-12
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• 2004

This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers' participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show's overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.155-172
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• 2002

The research has the aim of defining the special characteristics of the functionalist fashion design in the 1900s by understanding the essence of functionalism in the sociocultural contexts. Giving careful consideration to functionalist fashion design in the 1990s makes it possible to foresee the way of fashion design to meet the needs of the modems and men of the future world. To obtain the purposes, documentary study and demonstrative study with fashion photographs have been executed. Main results are as follows. Functionalism in the 1990s has been developed in different ways from the analogies in the beginning of the 20th century. It doesn't belong to an analogy but has the fused characteristics. It can be classified into techno functionalism influenced by new technology Pure functionalism related to minimalism. casual functionalism for those who are crazy about the speed and sports and enjoy the freedom and comfort and symbolic functionalism. Mechanical analogy has been developed into techno functionalism. Pure functionalism has come from the blend of mechanical and moral analogy, casual functionalism from mechanical. organic and moral analogy. and symbolic functionalism from organic and moral analogy. Since fashion design has much closer relation to human body and movements. it has been expressed considering a division of men and women and the places and times for the designs more than other designs. More casual manners of formal wear are distinct elements in functionalist fashion design in the 1990s. The 20th century general cultural phenomena including post modernism can be explained by eclectic functionalism. Functionalism considering Practical and conceptional functions ill continue and techno functionalism and casual functionalism in future fashion design will be expressed more strongly with new technology and casual trends of life style.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.178-187
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• 2005

The Danish furniture designer, Verner Panton's work is comprised of the appreciation and application of the traditional for the application of a wide range of high-tech material accompanied by the bold and primary color used his work, the purpose of this study is to draw the expressive characteristics apparent in his work by analyzing the origin, background and case study of his design. The origin including the background of Verner Panton's design is based on the identity of the Danish Modernism and International design trend, which is revolved around the pop culture and is under the direct influence of Martin Johansen and Poul Henningsen. In order to understand the expressive characteristics found in the Verner Panton's chair design, a case study was conducted from 1955 where his debut piece of work, Cone chair was premiered at the Fredericia furniture Fair up through 1970 where Visiona 2 project was presented at the Koln International furniture fair. As a result, the total of 41 chair designs was analyzed by the following four criteria: form, finishing, functionality, and structure. According to the result of the analysis, the design by Verner Panton was based on the experiment of the organic form, his tendency to the pop culture, the concept of space, mobility, simplicity, and sensible creativity of space. Once criticized for being extemporary and consumptive, nevertheless, the outcome of Verner Panton's chairs not only introduced the fresh new and positive ideas that have been mass-producing for over 40 yews but also they keep on getting upgraded in accordance with the development of material.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.156-163
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• 2013

In the past, the enlargement of perception through media was 'information'. From now on, however, the primary objective of media is to consist not in conveying information but in sharing the values of 'emotion' and 'experience' that are perceived through information. Individual emotional becomes an issue due to the limitations of the ideology of modernism and the pervasiveness of the autonomous perception in the human thinking that started in postmodernism. If we once again talk about a function-focused, sensible approach for the sake of marketing in the current era that has impinged on the limits of mammonism, we must keep in mind that 'emotion,' presently retaken as the originary, human value and the value of new communication, may come to an end any time. Therefore, th current thesis is designed to examine John Dewey's 'transaction' as a method for figuring out the concept of emotion, the perceptional function latent in humans. Dewey's 'transaction,' which is a term that refers to the reciprocal relationships between humans and environment and the accompanying totality of perceptive process, interprets human emotion, user experience and environment as the organic, circular relationships. For such understanding, one must break out of the boundary of the past, dichotomous communication between the subject and the object to expand into the perceptional relations in a wider environment, in order to seek design methods that would help dismantle the borderline that has so far separated the developer from the user, share sensibilities, and express experiences.