• 디자인학연구
• /
• 제14권
• /
• pp.283-294
• /
• 1996

본 연구는 디자인 제작 및 평가과정에 언어(기호체계)적인 접근이 요청됨을 증명하고자 하는 여러 노력중의 하나로서, 특히 ‘환유’개념을 디자인에 도입할 것에 대한 제안이라 할 수 있다. 이를 위해 본 연구는 먼저 1)디자인에 있어 시각언어라는 용어설정이 가지는 의의를 밝힌다. 다음으로 2)후기구조주의 사유방식 안에서 새롭게 거론되는 ‘환유’개념의 존재방식 및 탈 근대주의라는 시대적 요청에 부응하는 본 개념의 긍정적 의미를 설명한다. 이는 ‘환유’라는 개념이 탈 근대주의 시대의 문화사적 특성을 충실하게 구현하는 것으로서, 한마디로 ‘환유’를 통해서 모더니즘시대가 신봉했던 보편성 지향주의가 스쳐지나갔던 특수성, 개별성에 대한 관심이 표현될 수 있기 때문이다. 마지막으로 이러한 이론적 고찰을 토대로 3)‘환유’개념이 탈 근대주의 디자인에 도입되었을 때의 의의를 사례분석을 통해 드러내고자 하였다.

• 한국실내디자인학회논문집
• /
• 제16권1호
• /
• pp.48-55
• /
• 2007

Proceedings in a new field of sciences and technologies like genetic engineering challenge to conventional concepts. It demonstrates a certain disappearance in conventional concepts that dominants our perceptions, such as organic, mechanical, and dichotomic concept of informative materials, and that is to be extended as a potential possibility. Then, what is a new space where our bodies that feel and cherish in their mind should live in these days as well as it makes senses by itself and should affect the principle that makes worlds? In addition, this study proposes a frame in the analysis in order to understand a section of modern designs with the question of 'what is the change in the relationship between relative structures in spaces and objects from a design point of view according to new structural concepts of body?' The major point of this analysis can be realized based on the assumption of the extension of the characteristics in the change of structural relationship in the aspect of post structuralism that includes non-structuralized relationship represented in modern philosophy, arts, and architectural works. Then, it can be accomplished as positive ideas in the foundation of space designs in future including the understand of 'new structural relationship' that can't be expressed as rationality and causal sequence by considering how the experiment conducted using several topics on body can be projected onto spaces through the process applied in the experiment.

• 한국실내디자인학회논문집
• /
• 제24권4호
• /
• pp.33-42
• /
• 2015

A variety of attempts for trends to overcome the limits of the uniform styles and a fixed dichotomous structure and thoughts, have been made. This research aims to apply and analyze the application of concepts of the liminal space of contemporary architecture based on the destructive inclination of post-structuralism and the theories of philosophers. Space of the past was recognized for a long time focused on functions and styles that support the building. In modern and contemporary spaces, however, the boundary of contemporary space has been blurred with the mingling of cultural phenomenon. In other words, new architectural approaches of expression have been attempted such as structure, styles and materials, in combination of diversified concepts. And, the concept of liminal space is useful to identify the multi-layered and fluid characteristics. This study examines various characteristics of expression on the liminal space characteristics of comtemporary architecture tbased on Herzog and de Meuron's architecture. The result will help us understand the expression and characteristics of the liminal space that belongs nowhere among their architectural spaces. The analysis of the ases of Herzog and de Meuron will play a crucial role in developing new possibilities of modern space and contemporary space of the future.

• 한국실내디자인학회논문집
• /
• 제23권5호
• /
• pp.3-13
• /
• 2014

Typology in Contemporary Architecture wants to escape from the classical typology that has the problems about specific program of structuralism, typical repeatation of customary form. As visible and non-visible things are appeared in contemporary architecture through the analysis of the inner system involving development process of changing itself, typology of contemporary is utilized at a tool of form generation in the process of architect. And it notes that the structural properties of the building system. The form of contemporary architecture has the new connecting strucure not reduced to existing ones. It carries out generative access as a device in order to solve the complexity of society. From this perspective, we analyze the process of projects of contemporary architects that can be typological strategy not representation of post geometric form but a tool of form generation in architectural process. As a result, we can find four characteristics of typology as a tool of form generation; 'interference and mix of program', 'continous slabs', 'rearrangement through relationship setting', 'transformation of multi-layers'. These are expanding to the process that reflect history and context or infer from morphology. Therefore, typology as architectural process of form generation overcomes morphological typology of classical typology and suggests that the different architectural approach having potential possibility.

• 한국실내디자인학회논문집
• /
• 제20권4호
• /
• pp.37-45
• /
• 2011

This thesis sets out to study the immanent mechanism of architecture which had classified as external spaces in general. As human controls a space, it controls or manages human's behavior, too. This study is depended on the humanities to analyze a various operation of power in the architectural space. It makes a comparative study of a space-power in a dwelling space through a discourse of Michel Foucault and Jacques Lacan, in particular everyday's microscopic scope. According to analytical results, the space-power of dwelling falls under the influence of a spacial arrangement and subject's desire. It has shown a noticeable characteristics in aspects production & consumption, using behavior, and use value. As it is seen through the aspects of production & consumption, owns of the space-power in a dwelling could not be its subject. We have also understood about a physicalistic furniture at the using behavior, it has a special power unconsciously to control a human's action and lifestyle. And then in the aspects of use value, the centric theme is a television. It lies on the core of space-power in dwelling, because is profoundly related to an innate respect of a dwelling value. In conclusion, so this study has the important meaning in the side to offer some interpretative possibility about the architectural space-power through a microscopic structure.

• 한국실내디자인학회논문집
• /
• 제22권5호
• /
• pp.162-170
• /
• 2013

Although vision has been considered as a top sensory organ in the Western culture until modern times, the significance of space experience that communicates with a body via complex perceptions has recently garnered attention. This study criticizes the limitations of a vision-centered space and has the goal of empirically examining the sensibility characteristics in a haptic space through post-structuralism views leading up to Gilles Deleuze's philosophical ideas. This study will explore the flow of senses from the philosophical and artistic standpoint and the sensibility characteristics in a haptic space by examining the theories on haptic perceptions in connection with a space. In order to test the existing theories and identify the differences in sensibilities depending on perceptual method, the sensibilities of participants were compared using SD method (Semantic Differential scale method) and a validity test was conducted using a statistical program SPSS. The research has revealed that the average sensitivity scale of complex haptic perception was higher than single perception that only relies on vision. In addition, there was a correlation between perceptual method based on various sensory organs and human sensitivities. This study is meaningful in that it can serve a foundation for empirical research on sensibility, since it has reexamined the relationship between space and participants and demonstrated and analyzed their sensitivities through an experiment.

• 한국실내디자인학회논문집
• /
• 제18권3호
• /
• pp.66-73
• /
• 2009

In the digital age, as it is ambiguous to distinguish between the original and a replica, the order of reproduction which is more realistic than the reality is becoming a new cultural order. Before the period when digital paradigm dominates, always the reality has been an object to be copied. But, today is an age of Simulacre where code of digital technology dominates. Such a phenomenon is shown in the construction space without exception Gilles Deleuze who was a representative philosopher of the post-structuralism depicted the concept of Simulacre as an instant 'event' passing by without change in an object or substance. As the result of analyzing what kinds of feature for the concept of event is expressed in the digital space, a diagram itself could be a design process, the digital space with correlation was able to be created through the change in the meaning according to the changing image and my body which was the leading part to form primary space. In such a meaning, this study pays attention to Deleuze's 'Event(Simulacre)' concept. At this transitional period when a new concept of digital space is about to take root, the modern philosophers' theories and the discussions about spatial relativity should be continually studied, along with the development of spacial theories for the modem construction.

• 한국실내디자인학회논문집
• /
• 제18권6호
• /
• pp.133-141
• /
• 2009

Since Adolf Loos' Ornament and Crime was released, ornament had been regarded as a vice in Modern architecture. In Post Modern architecture, the ornamental vocabularies extracted from the classical architecture have been symbolically expressed. As a result, the significance of existence of and the use value of architecture have increased with improved intimacy to the public. However, many studies that have analyzed architecture in terms of semantics and semiotics focusing on communication between architecture and the public have admitted instability in architectural meaning because of the fundamental difference between architecture and language. At the same time, the architectural representation has encountered a lot of limitations along with the deconstruction and non-presentation theory in Post-Structuralism. Even under these circumstances, the ornamental representation can be a critical factor which makes communication possible while expressing spatial identity in this pluralistic contemporary society. Hence, this paper has established logical grounds for research based on theoretical investigation on the concept of representation, semiotics, and ornamental representation, with regard to spatial communication through ornamental representation in commercial space. Based on Peirce's Semiotics which is the typical theoretical science in terms of representation, this paper has analyzed the three kinds of signs (Icon, Index and Symbol) that he proposed. Peirce's classification of signs becomes ideal when the factors are well balanced, with room for combination instead of strict classification. It appears that his theory of signs would be useful in understanding and analyzing ornamental representation. This study on representational ornament could offer a plan for ideal communication and abundant spatial experience in the interior design of commercial space in which the expression of creative space identity is required.

• 복식
• /
• 제58권10호
• /
• pp.78-94
• /
• 2008

Contemporary fashion is experiencing a rise in design that combines heterogeneous things, or goes beyond the roles, boundaries, and meanings of existing things. This can be described as a 'heterogeneous fusion' that is different in character from the mixed use of heterogeneous materials, borrowed designs, and exaggeration of the silhouette that have been practices in fashion design, or the non-structure, deconstruction, and recombination that have existed since the age when post-structuralism was a central philosophy. This 'fusion' causes a 'confusion' of the generally accepted mental principle of 'one sense reacting to one stimulus', and breaks the boundary between the various senses, causing confusion in the senses of the individual, and leading him or her to experience unfamiliar feelings. In this process, all information received from external sources is not perceived as it is seen, but rather is perceived through a fusion of the individual's motivations, the environment in which it is perceived, the resulting change in emotion, and the individual's past memories. The combination of these heterogeneous elements visually accepted, or such a non-territorial combination acts as a 'fusion of senses' in the individual's perception, which causes confusion in the homeostasis of perception, and a change in emotion, and serves as a factor that causes the information to be stored in the memory for a long time. In parallel with deconstruction or non-structure, the 'heterogeneous fusion' found in modern fashion is taking root as a representative creative trend, and is represented in various forms such as the mixed use of subjects and materials, non-territorial borrowing, fusion with animal forms, fusion with non-physical geometry, and fusion with heterogeneous hair decoration.

• 한국가구학회지
• /
• 제19권6호
• /
• pp.439-446
• /
• 2008

High Tech Design manner is a design concept that had been constantly discussed in constitution process of the West art history and modem ideology and had been experimented in industry, having started from futurism and structuralism in the early 20th century through Kinetic Art & Technology Art and up to now. High Tech Design had a great influence also on Post Modernism and more important is that this manner of design will be existing continually in the future too. From the modem times when machine civilization started, the artist and designers expressed a utopia will showing the future world with help of High Tech Design and modem people are realizing technology images as a utopia, in the space and material presented by this high tech design. And this utopia imply the images of dynamic power, speed making a voyage in universe, dream of future, hope, mass production, earth's environment, wealth etc. High Tech furniture was lightly designed by using thin steel wire, structure stressing the metallic characteristic and tempered glass, and it was used for presenting a convenient interior space visually, and with that it can make a unified sense in High Tech interior space, and a contrary effect compared with minimal space. High Tech Design equipped with glass and metal materials looking inappropriate for our interior space due to their sharp and cold image has been regularly used as living furniture, not only decoration function, and then there must be reasons for that. This study intends to research how High Tech Design has been changed and developed in the design history & West art history from the early 20th century, and to present it's value of development as data orienting, namely a direction for the industry of the next-generation and furniture design.