• 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.9
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• pp.30-37
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• 1996

The Modern architecture, generally represented as Functionalism, had brought the important problems of the absence of cultural meaning and of the public alienation. Robert Venturi is one of the major architects who suggested the new theory of Architecture. Postmodernism, for solving these problems . Therefore the purpose of this study is to analyze his design ideas and works especially for four residential projects : Vanna Venturi House, Guild House, Brant Johnson House and Brant House, His design ideas are Complexity and Contradition, Symbolism. Ornamentalism and Pluralithy of meaning . The various historical and traditional elements are refereed as symbolic and ornamental elements. The symbolic and cultural meaning of architecture through their images, memories, and associations concerning historical motifs help communicate with the public . Robert Venturi tries to pursuit Populism in architecture through historical allusion and pop art.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.415-432
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• 2018

This essay reinterprets Joseph Conrad's The Heart of Darkness as satirical writing. In an experience-based fictional world, Conrad places imperial precursors who present themselves with a derogatory demeanor that stems from corrupt rapacity at its forefront. This rapacity is enabled by what European colonists believe to be a noble cause, regarded as a vehicle with which to enlighten African continent in his work. This essay reads this noble cause that allows such exorbitant and corrupt rapacity as a dominant element in the construction of Conrad's characters, particularly Kurtz, as objects of satire. Kurtz ends up beginning his calamitous descent into barbarism, mockingly quite opposite to what the colonial disciples misconceive themselves to be. In exhuming the satirical elements from the novel, this paper proves the significance of reading The Heart of Darkness as satire as an alternative reading to the racist book Chinua Achebe has accused it of.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.41-49
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• 2009

Contemporary design environment is formed with image-centered trend based on pluralism. In this point of view, enterprises' building lobbies are public places containing the equivocal meaning, actively utilizing light as a design element to express the image of enterprises' identifications. Light is an immaterial entity having unlimited possibilities and potentials on space. It also acts as media to activate spaces and create new images in connection with formative elements of space. This study is to figure out how lightings are expressed and affected the formative characteristics of office lobby spaces and activate the specific characteristics of spaces. As a result, we drew conclusions as follows. First, as state-of-the-art technology and media are introduced, light is expressed on spaces as floating, direction, rhythm, silhouette, metaphor and allusion, sense of depth and volume. Second, expressive aspects of light in lobby space are embodiment of light, substantiation of immateriality, standing of materiality from the perspective of spatial aesthetics, and distortion/transformation of shape, pluralism phenomena of space from the perspective of spatial structure. In this way, light on building lobbies which are greatly required design differentiation strategy, specializes space and also integrates all the designs as not only a functional element but also a mental, psychological, formative element. Consequently, light on lobby spaces induces communication between spaces and users, makes formative value of existence in itself, and presents the characteristics of differentiated enterprises' identities.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.117-133
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• 1996

The etymological meaning of 'the Picturesque' is "after the manner of painters." It had begun to be used from the end of Classical era and become popular in Romantic era. The concept of the Picturesque in the Classical era is an allusion to the Classical paintings, history paintings or ideal landscapes. As the idea of these paintings was the Beautiful Nature, the most crucial of the Classical Picturesque were that a painting should represent some significant human action; that all the parts of this painting should contribute to the whole; that verbal commentaries were needed. The influence of the Picturesque on the garden design can be summarized as the invention of 'the Landscape Garden.' In the Landscape Garden, human action was central and formal and painterly techiniques were used to highlight human action. The subjectivization of concept of of the beauty resulted in the cult of the Picturesque. In the controversy by Price and Knight, the Picturesque and its influence on the garden design was contended variously. Price criticized the monotonous gardens of Brown's and named "roughness, sudden varitation and irregularity" as the three hallmarks of the Picturesque. Knight contended " that the Picturesque consisted only in a manner of viewing things with an eye and mind educated in the principles of painting" and "that gardens should reproduce as fully as possible the qualities that made the pictures of Rosa or Hobbema delightful."

• Journal of Korea Game Society
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• v.22 no.1
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• pp.3-18
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• 2022

This study focuses on transtextuality of Easter egg and its effect on replayability. This paper categorizes Easter eggs of digital game into five types based on game elements, and applies Gerard Genette's transtextuality theory by analyzing function and meaning of Easter eggs based on quotation, allusion, and annotation of intertext and paratext. In conclusion, Easter eggs as transtext form game ritual by linking inside and outside of the game, as well as developers and players. Through this process, Easter egg enhances replayability of digital games by extending the narrative of the game.

• Archives of design research
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• v.18 no.4 s.62
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• pp.225-236
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• 2005

As a fresh trial using humorous items to escape from economic recession and uncertain state of mind regarding politics and society, fun is emerging as a keyword in design area. This study classified various use of fun reflected in modern fashion design according to the theme, and analyzed the mod of expression to identify formative characteristics. Through these processes, this study built conceptual structure of fun in fashion design. 412 fashion designs which represent fun were collected from 2001 $S/S{\sim}2005$ F/W collections. Data were analyzed and categorized. Results showed that the theme of fun in the modern fashion design could be classified into humor, kidult, irony, satire/parody, storytelling, and play. The design elements mainly used were color silhouette, letter, object, and drawing, while the design principles were distortion/exaggeration, incongruity, and repetition. In addition, these expressions were related to the traditional humor theory: incongruity-resolution, superior, and relief theories. The fun in modern fashion design has such value as affirmation, warmness, entertainment, youth, contradiction, surprise, deviate, allusion, attack, and description, Finally, in regard to the subject, the fun provides active experience like play as well as passive acceptance.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.150-160
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• 1997

The tendency of the Minimalism in the contemporary a architecture is based on Mies van der Rohe s saying ‘나SS IS m more" as the principle of the Minimal art and its formative c composition. It can be divided into technical Minimalism p prevailed in Northern Europe and the zone of German l language, and the regional one in Southern Europe and S Southern America. The former is interested in the experiences of the techniques and materials, and the latter in that of the s space and the place through the simple forms. The minialistic approach to the architecture is nat only m methodological one. It accepts the concept and the construction of architecture as 2 axes for making it keeps the tradition and c communication with the master builder, the materials, and i염 m means to compound. The expressive characteristics of works in M Minimalism are 1) as the formal issue, it is simple, self-referring. without any symbol or any allusion, and compounds the r repetitive forms as the comceptual aspec않 of architecture, 2) it h has the characteristies such as the approach directly to the m means by which architecture made, the critical interests to the m material attributes, and the capacity to the contemporary t technology as the issue of technique and materials, 3) regarding t the space and the place, it shows the good sense to the site in t the sphere intervention of architecture 1e Maininlalism architecture has i않 impotance in the point t that it seeks to the qualities immanent in architecture by s showing the marvelous status through discovering the i immanent properties of the site, program materials, and the s structure, and also it begins new way of interpreting a architecture with new viewpoint to the its essence as well as a architecture itself.self.

• The International Journal of Costume Culture
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• v.4 no.3
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• pp.217-228
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• 2001

This study* 1) historically considered the meaning of light which has frequently wed as the subject of artistic expression since Renaissance, in order to grasp an artistic atmosphere about light and rays before the allusion of Rayonism. non it inspected closely the course of changes of light as a result of historic circumstances and intended to understand how Rusian Rayonism of the 20th, which maintained these effects of light more rationally, had an influence on modern fashion. It was created by Mikhail Larionov and developed by his wife, N. Goncharova. The main special feature of Rayonism wag the crossing of reflected ras, emerging from various objects. Most of these things depended on line and color. Re purpose of Rayonism paintings was to create a new space from arising from which reflected rays from various selected objected crossed one another. Namely, artists maintained that they should give up various objects of visible world and express rays which were reflected objects and crossed in complex. Rayonists were affected by Cubism and Futurism and came to fake an interest in relations whose rays of parallel or convergent color made, also in expression of themes. Since that, Rayonsim affected Supermatisme and Constructivism. Re pursuit of light and rays from the 19th until the early 20th came to appear in fashion as well as in art as it was. As Rayonists created a new space from which reflected rays from selected objects crossed one another, they used line and color as the main techniques of expression. in this way the attempt which intended to express rays, using itself of the line and color, appeared as futile design of tots of designs like Donna Karan, Cianni Versace and Rococo Barocco and so on of Modem fashion. This was designed for essential elements of pure art to express the new aestheic consciousness through fashion.

• Archives of design research
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• v.9
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• pp.401-418
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• 1994

A fairy tale of information by word of mouth gets to this day with admitting the change of period. A fairy tale reflects the morality of the education of children. The late 17th century, the information by an author of classical literature collects and the literature genre of children begins to fix. In 1697, Perrault publicates and is a volume of eight volumes' tale. Perrault describes that female children guard against male by annexing a figurative allusion. Sara Moon of a photography artist in 20th century expresses this theme by symbolic expression of illustration. Her illustration brings about many questions and becomes conscious of the veiled significance of sentences by author's consideration. She deletes the Perrault's preccept in substitution of bed photography and she substitutes a wolf with a car or a dog and a shadow, etc .. The illustration of Sara Moon gets ready a foundation of early sex education as reflecting a period. Now, an illustrator gets to rebirth a fairy tail as a new dramatizer of today.