• Iberoamérica
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• v.14 no.2
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• pp.119-145
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• 2012

This paper deals with the study of how the 'birth' of Brazil happened and how the European utopianism was represented in Brazilian Informative Literature of the sixteenth century, that is, the first literary manifestations of Brazil. There were at that time the Renaissance humanism and the scientific development that encouraged dozens of illustrious navigators for new discoveries ultra-seas, like Christopher Columbus who discovered America. Writings such as Letter to King Manuel of Pero Vaz de Caminha, had mostly an intention to inform Europeans about climates, indians and possibility to discover gold or silver. Main narrative characteristics were uncertainty and exageration, which ironically helped to attract more discoveries and explorations in the New World. Americo Vespucio's Mundus Novus inspired Thomas More to write Utopia, in which the author described through a Portuguese sailor the ideal but unrealizable society. Utopianism regarding the imaginary island of 'Brazi', well known among Europeans since long ago, may have influenced the current name of the country: 'Brazil'. On the other hand, utopianism shown in Brazilian Informative Literature worked as a justification for Europeans to explore and colonize the New World.

• Korean Architects
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• no.5 s.111
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• pp.47-54
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• 1978

• Korean Architects
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• no.6 s.112
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• pp.20-23
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• 1978

• Architectural research
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• v.26 no.3
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• pp.51-62
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• 2024

This paper introduces the concept of temporary utopia, which is private rather than communal and individual rather than collective, to investigate a paradoxical relationship between longing and loss in the individuals' utopian process. The main argument is grounded in Ernst Bloch's critical theory of utopia, which gives more weight to its function and process rather than its form and destination, which is the opposite of the traditional utopian imagination. The notion of temporality as utopic-spatial consequences is illustrated with a case study of New Malden's North Korean community in London, United Kingdom. Through the examination of North Koreans' utopianism, it amplifies how the individual memories, emotions, and longings are re-created, re-built and re-imagined in the form of temporary utopias to incorporate the endless ideals and changing conditions of the individuals. This investigation sheds new light on urban ethnic enclaves as utopia in the realm of architecture and urbanism.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.116-121
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• 2004

Ubiquitous 3rd space is gaining attention by the change of information and digital technology. It could bring information technology and Architecture together in our living space for the near future. Archigram that has brought the Utopia concept into Architectural Expression is certainly an Architecture for people. Archigram concerns individual and society. Therefore, this paper will try to make a Architectural plan for Human in the concept of Utopianism shared by the Ubiquitous space and Archigram tradition, which could bring a better solution for human space in up coming age in the would.

• Korea journal of population studies
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• v.8 no.2
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• pp.30-45
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• 1985

The "Dismal Theorem" (Essay) of Maithus is juxtaposed to the utopianism of both Marquis de Condorcet and of William Godwin who believed in the perfectibility of man and of the greater power of civilization over that of population. The socio-political environment that gave birth to the neo-Maltbusianism and of the economic Malthusianism is briefly sketched on, along with the discrepancy between the early theories (1978) of Malthus and the later Malthusian theory; nemely, the biological population principles of his early period runs head-on into his theory of effective demand and underconsumption. Malthus belonged to both the anti-Ricardian and the Ricardian classical tradition, and his attempt to reconcile the anomalies was not very satisfactory. Karl Marx criticized Malthus for his incon-sistent radical conservative theory of population and John Maynard Keynes came to the rescue of this Maltbusian dilemma in the 1930's, with but a morsel of success.f success.

• Journal of architectural history
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• v.17 no.1
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• pp.7-28
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• 2008

Colin Rowe was an important historian, theorist and critic in Modern architecture. His significance in Modern architectural history lies in not only historiography which has changed our view of Modernism but deep theoretical involvement in practice. This study is a critical review and analysis on his formalist approach in Architecture. With a view that his position of formalist has indispensible relationship with liberalism from K. Popper's critical rationalism, this study try to show how his philosophical background has an influence upon his way of seeing architecture, history, form, urbanism, and meaning, etc. And this study also try to explain why the principle of architecture as an autonomous discipline which is the main point of view in Rowe's criticism has been so successful and influential. This study also explain what is the possibility and limitation of Rowe's formalist approach and way of reading buildings. His intelligent way of formal analysis can give us new understandings of how the form generates and the process of design goes on. Furthermore it guide us a new horizon of architecture as a language game. Since his early writings showed both side of formalist approach in architecture and it didn't changed a lot. We can understand his 'Collage City' was a his final answer to his formalist way of making architecture and urbanism. we can estemate it as a utopia without utopianism and an ideology without ideological color.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 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.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1083-1098
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• 2009

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

• Cross-Cultural Studies
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• v.36
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• pp.123-147
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• 2014

The purpose of this essay is three-fold: to trace the genealogy of the Korean musical, which ever since its inception in the 1960s has been seeking to modernize Korean theater with Broadway as a constant role model; to investigate how the national and the global conflict and are conflated in the form of the Korean musical in the process of its (dis)identification with Broadway; and to examine how its intercultural translations reveal and reflect the dilemma and ambivalence posed by globalization in our era. Drawing on Richard Dyer's signature article Entertainment and Utopia, I analyze how the Korean musical manifests and conduits competing utopian impulses of Korean/Global audiences. I also attempt to problematize the formulaic notion of Broadway musicalsthe Superior Other!which implies a global hegemony that does not, in fact, exist because the boundary between the global and the local as well as the power dynamics of global culture are not fixed but constantly moving and changing. Today's musical scene in Korea shows interesting reversals from the 1990s, when Korean producers were eager to debut on Broadway and impress American audiences. Korean producers no longer look up to Broadway as a final destination; instead they want to make Seoul a new Broadway. They import Broadway musicals and turn them into Korean shows. The glamor of Broadway is no longer the main attraction of musicals in Korea. What young audiences look for most is the glamor of K-pop idols and utopian feelings of abundance, energy, intensity, transparency and community, which they can experience live in the musical with their favorite stars right in front of their eyes. In conclusion, I delve into the complex dynamics of recent Korean musicals with Thomas Friedman's theory of Globalization 3.0 as reference. The binary formula of Global/America versus Local/Korea cannot be applied to the dynamic and intercultural musical scene of today. Globalization is not a uniform phenomenon but rather a twofold (multifold) process of global domination and dissemination, in which the global and the local conflict and are conflated constantly. As this study tries to illuminate, the Korean musical has evolved in a huge net of interdependences between the global and the local with a range of sources, powers and influences.