• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.270-277
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• 2007

Postmodern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by postmodern furniture designers from the 1960s throughout postmodern era. This study is Intended to explore the way of incorporating Art Deco in postmodern furniture design. Rational Italian designers in Anti-design Movement began to adapt historical motifs and Pop, and this spread out throughout to other Postmodern designers. The research explored how Art Deco and postmodern design are related and what the examples of Art Deco revival in the postmodern era we. In this sense the research mainly covered from the exhibition catalogs from the 1960s to 1990s. As a result of stylistic, symbolic, methodological analysis, Art Deco revival in postmodern era was an essential method to express anti-modern characteristics of postmodernism. In postmodern design, Art Deco was one of historical styles that surpass the limitation o( modernism, at the same time decorative style that express the postmodern ideal.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.103-112
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• 2001

This study explored the background of contemporary furniture design called New Design furniture, which newly expresses the aesthetics of communication in the postmodern era. Qualitative conceptual analysis as the principle methodology was used to explore the background of the decorative and meaningful contemporary furniture in postmodernism. Thereby, the postmodern concepts of Charles Jencks, Robert Venturi, and Michael Graves were analyzed in terms of their postmodern architecture and furniture. As initiatives of postmodern architecture and furniture, Jencks, Venturi, and Graves explored the pluralism and eclecticism, the decoration, the semantics, and the materials reestablished from the traditions of craft. As a result, their furniture was expressed by various wood and color; the furniture was beautiful, decorative, pluralistic, and eclectic for communicating symbol, metaphor, narrative, and/or humor with people; the furniture has influenced the communicative elements on the contemporary furniture design called New Design furniture design, which shows the blurring of fine arts and craft distinctions.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.113-124
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• 2001

This study explored the characteristics of contemporary furniture called New Design furniture design in terms of aesthetics of communication in the postmodern era. Qualitative conceptural analysis as the principal methodology was used to explore the characteristics of New Design furniture, which is accessible to the broadest possible public. Thereby, the communicative elements of symbol, metaphor, narrative, animation, imagination, humor, and/or wit expressed in New Design furniture were analyzed according to the designers'concept and work. As a result the postmodern aesthetics of communication made New Design furniture accessible to the largest number of People through cultural considerations in New Design furniture as it influences designers 'concept and work. However, it showed problems of New Design furniture in connection with postmodern aesthetics affecting mass production. Therefore, the designers have begun rethinking, redefining, and redesigning their furniture aesthetically, functionally, economically, and ecologically.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• Korean Institute of Interior Design Journal
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• no.4
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• pp.22-26
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• 1995

The objects of this thesis are to examine the ways of applying the postmodern theory into the contemporary de-signing based on the korean culture and history. As the results of this study Ⅰfound the expressions of the postmodern design has much value to communicate because of the importance of the aesthetics. One of the most important postmodern design concepts, the historical allusion is also accepted as an aspects of new "ism" after modernism. In applying the historical motives the problem is that we must understand the meaning of ways of life and culture included the external ornaments. Finally if we consider not only the hardware aspacts but also the software aspects - society, history, region and culture - we can make our postmodern design lan-guages.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.26-32
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• 1999

The point of this study consists in analysing influences of the postmodern design in the contemporary architecture. Since the modern architecture, new concept of architectural design has been materialized in the Late-Modern and the High-tech style but the revolutionary changes has been tempted by the postmodern architects who introduced the Rhetorical language in the contemporary architecture. In concrete terms postmodern architecture divided architectural elements from existing function (according to U. Eco, it is the primary function of architecture) and gave another function which is the secondary function or the symbolic function or architecture. And the methods of deviation from the conventional code is exactly the rhetorical expression technique which governed the history of art in Europe (but these technique is more intensively applied in the postmodern architecture) So this study is purposed to analyse the different rhetorical "figyres" regarding the syntax and semantic of the architectural langyage, and particularly to approach to the basic mechanism of the New Design Concept in the Contemporary Archiecture.chiecture.

• Journal of the Korea Furniture Society
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• v.18 no.4
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• pp.337-344
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• 2007

This study explored contemporary furniture theory and practice in Postmodernism mentioned as one of a kind furniture based on ideas from the tradition since Modernism. Qualitative conceptual analysis as the principal methodology was used to explore the postmodern furniture adopting or reflecting ornament from the tradition presented as postmodern furniture designers' point of view differently and variously. Thus, the examples about one of a kind or one-off furniture were dealt with Postmodern ideas appeared in the doubt over Modernism, Post-Modern furniture ideas from the traditional and Modern architecture, ornamental ism, Postmodern theorists, Postmodern furniture and the criteria. As a result, although one of a kind furniture design appealed newly from and based on the ornament of the tradition has been identified as new design like one of a kind furniture which shows lack of function, the piece with the meaningful ornament makes people happier in their daily life. Hence, one of a kind furniture, a work of art, has been required as striking a balance both function or comfort and aesthetics or beauty which makes the people more enjoyable.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.107-113
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• 1998

This stud tires to present a general picture about Alessandro Mendini's unique idea of redesign. One of Italian post-war redical architect and designer mendini gives us a special opportunity to appreciate the social cultural and political context where the post-war Italian design lies. Also known as "banal design" Mendin's design revolutionized the way in which we practice utilize and think about design itself. It is my opinion that the idea of his redesign can be best understood when we consider the social contest of Italian design. Unlike that of other European countries post-war Italian design gave special emphasis on how design can or should be more than a simple activity of making aesthetic or industrial products. In terms of these possibilities Mendini was never optimistic : today we are completely controlled by dehumanized mass production and it is impossible for design to take a special role for a social change Then Mendini's pessimism is bound up with the spirit of this age widely known as postmodernism. Even though Mendini himself never characterized his design as postmodern it is not difficult to identify various postmodern elements in his idea and practice of redesign. Thus in the final section of this study I shall investigate the postmodern elements in this design and furthermore such an idea as what makes Mendini postmodern.

• Journal of Fashion Business
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• v.8 no.4
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• pp.33-44
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• 2004

In this study, based on the postmodern feminism were investigated in the non-fashion areas of painting, advertising and fashion areas. And, fashion illustrations were analyzed visually in the aspect of the essentialism and deconstructivism that constitute the postmodern feminism. In addition, it was examined how women images were expressed in fashion illustrations that reflected the postmodern feministic ideas. The research results first, in fashion illustrations were the essen tialistic women images were grouped in the opening of women bodies and actively emphasize. the opening of women bodies were expressed bodies the fetishistic, ecstatic images, actively emphasize features were expressed the sexual, and realistic images. Secondly, and fashion illustrations the deconstructivistic women images were grouped androgynous features, genderous features, the distorted feminine gender features, complex features. androgynous features were expressed the powerful, grotesque, humorous, androgynous image, that genderous features of immature, boyish image, that the distorted feminine gender features of simple, ethnic, techno-cyber image, that complex features of complex images.

• Journal of Fashion Business
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• v.15 no.2
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• pp.57-70
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• 2011

As a form of media diversified and changed by the development of technology, fashion advertisements have brought a new change in representation of the body. With this transition, the characteristics of the body, which is in an inseparable relationship with fashion, have been dramatically changed in fashion advertisements. In hugely extended media flow, fashion advertisements suggest concepts of the body that are completely different from the past and became the focus in advertisements. Moreover, the body in fashion advertisements involve the symbolisms of social and cultural backgrounds followed by their commercialization. This study analyzes the characteristics of the body in fashion advertisements drawing on the innovative concepts of the body in contemporary society which is essentially different from the past ones; these characteristics are examined as postmodern features. The features are categorized as follows; hyperreal body, virtual body, fragmentization of the body through neologism, reconsideration of naked body, and decentralized body. The postmodern characteristics of the body have changed the boundary, broken traditional concepts and thoughts, and proposed new trends by creating revolutions though diversified media. Rapidly changing media is considered to be further accelerated; this transition highlights the postmodern characteristics of the body in fashion advertisements in more innovative methods.