• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.106-116
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• 2017

In the 1900s, the cultural crossing of East and West was realized through the acceptance and reproduction of culture. Cultural change in the Orient was the result of attempts to harmonize the West's images, which they chose in their respective countries, with their own culture. However, research on design history until now has been centered on the West, and East was regarded as a beneficiary of civilization inherited from Western's. From the point of view of Western design history as a main trend, the unique characteristics of Korean design culture are not revealed. Therefore, through this studies, we want to distinguish Korea's modern design, which has been recognized as a minority. For the study, through the wallpaper, which is one of the detailed components of the interior space in modern times, we try to analyze the socio - cultural historical factors and design characteristics influencing the formation of the interior space in modern times. Summarizing a result of research. The early modern wallpaper of England mainly uses plants as motifs. But In Korea, animal patterns and letter patterns were used. The reason why European wallpaper was mainly a plant at the time was that the structure of the motif was useful for the process of creation. However, in the case of the Korean wallpaper pattern, the theme was selected according to the meaning of the motif, and it was abstracted appropriately for the 2D design. As a result, many geometric shapes were formed. In addition, European wallpaper pattern is more complex and organic than Korean wallpaper pattern. Therefore, the boundary of the central pattern as the basic unit is unclear and the patterns are connected. The pattern development method is not a simple repetition but a combination of symmetry and repetition. In Korea, on the other hand, the boundaries of unit patterns are clear and patterns are developed by simple repetition. There are many diamond-type repeating patterns in particular.

• Archives of design research
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• v.20
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• pp.1-10
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• 1997

In 1990s with the increasing of consumers' standard of life and change of life style, there has been an increase of import from overseas license brands and a new participation of big enterprises, as well as small and medium enterprises in local fashion market. As a leading fashion company with a long tradition and technique, the INDIAN brand of Sejung Inc. needs to establish a new image to preoccupy relative superiorty in the competition with other brands and satisfy future consumers in the present situation of 1990s. Therefore, for developing of its image, we made an investigation of three-dimentional marketing about business environment, and after setting up the B.I concept, we initiated to express a visual image. Through a made-up question after the completion of those works, we decided our logo mark and completed the entire design system, including the basic and applied elements of main design items of INDIAN B.I Finally, to maximize the effect of the brand identity, it is necessary for us to keep the principles in making the shape of design, to take care of them thoroughly, to make all the members' thinking and behavior unite concerned with the brand, and to execute continuous educational programs for practice of B.I. conciousness with the public relations when B.I. will be appeared on the market.

• Archives of design research
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• v.14
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• pp.257-264
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• 1996

The role of local government is no longer having to refer to the central government those matters related to local issues, but having the autonomy to make to make decisions that aHect the cOi1lmunity, taking into consideration the particular characteristics of its locality, community opinions, funds and local eHorts to build a better local environment to live in. From this point of view, the role of industrial design is steadily increasing in each local communities. However, at present it appears that no concrete measures have yet been formulated for esigners' participation in the local community development. This is partially due to the lack of awareness by the local government and the lack of eHorts by designers. The primary consideration of recent local development in the form of industrial complex construction appears to be the revenue-orientated aspect of its development. Similarly, the staging of international events in local areas seem to bring out the negative side-eHects of administration. Thus, local problems and revitalization issues should be redirected from local government to local community initiated solutions. Similarly, local governments should instead encourage the development of small and medium-sized rprises than large coporations. And the subject of local development should proceed with the 'software-concept' as its core constituent. Based on these current situations, this study examines the important role of industrial design and proposes a new direction for revitalization of a local area.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.513-523
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• 2020

Gill Deleuze is a representative of poststructuralism philosophy who has reevaluated the senses and body. This research reinterprets modern fashion and its relationship with the body based on the core idea of Deleuze's body aesthetics - Body without organs. The results of this study are as follows. First, with the influence of intensity, the body without organs will form three types of body: full body without organs, empty body without organs and cancerous body without organs. Second, modern fashion can create new physical relationships by changing the way of dressing, thus forming the full body without organs. Third, in the empty body without organs, people replace the torture of the body through the destruction of clothing; and the indiscriminate design under egalitarianism will create the cancerous body without organs which full of negative meaning. Through these results, we can have a deeper understanding of the relationship between body and clothing, and apply it to creative expression.

• Archives of design research
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• v.17 no.4
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• pp.375-384
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• 2004

The general tendency of approach to Korean Design History has been focusing its primary interest on the grand story in relation to the problems of modernization in political, economical and social aspects of Korea. In the discourse of modernization, however, there are two sides immanent in the modernization: there is the formal, institutional and authoritative modernization developed inside the capitalistic mode of production and the informal, individual and cultural modernization manifested in the mode of everyday lives. Especially, despite the viewpoint of the latter being embossed as an alternative approach in various areas including the academic world of history since the collapse of socialism, the historical recognition of the phenomena of modern design by the Korean design historians is more like the 'history from the above' that exists at the level of the discourse outside the reality rather than the 'history from the below' that exists within the ordinary life. To grant a sense of balance in such frame of historical understanding, it requires the restructuring the design history of Korea through the cultural perspectives from having the representation of mundane lives realized by the voluntary design activity of the common people as research subjects. One of the methods to acquire an answer to such problem is decoding, in the manner of 'cultural history', the life-long domestic artifact made by Madame Yang, Gap Jo (currently 87 years of age) who is a model of typical Korean mother. Through the historical rumination on the traces of unpretentious lives of the people that has been buried under the grand narrative of the Korean Design History, a new era aimed for the historical prospect of Korean design as cultural history will be possible by excavating the petit yet multi-layered meaning of Korean designs.

• Science of Emotion and Sensibility
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• v.12 no.2
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• pp.225-232
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• 2009

There are life-style and many different cultural differences between countries. Among them, food is different from other areas. Especially, if Food Tools are used by food type, even though the design factor is same, the function is different. Therefore, research and development of a Food Tool design is necessary to use a Universal Food Tool between countries. The purpose of this research is to develop a behavior analysis process for food, finding similarities and differences by food type; and cultural differences between countries; and to propose a design Food Tool design that can be used between countries. This research on methods and content is for the development of the consumer behavior analysis process about food, grafting theoretical studies about behavior analysis and working behavior analysis on the spot, to develop a food action analysis process. Second, do comparative analysis process of food order and evaluation between countries; and think about the problems and symptoms, then propose methods to resolve the problems. Third, each process is divided by category, to find the features by each category of foods between countries. Results may be obtained through research and the comparative analysis of each country's, foods, behavior and restaurant types. Specifically, researchers can use food tool design to obtain results and compare the same items between countries, compare university design education, and create new ideas through cooperation and complementary research.

• Archives of design research
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• v.17 no.3
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• pp.343-352
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• 2004

Under the production system of a free market economy, the modern consumers'goods that feature current trends reveal diverse aspects of the whole society and culture. This phenomenon is progressing at such a rapid speed that theories can barely keep up to explain it dearly. It is believed that the reason for the lag in academic theories is the formation of pluralistic values in human lifestyles due to the development of science and information communication. The pluralism of values in contemporary society is being studied in many academic fields, and the design among these fields often sees such a phenomenon as one of the post-modernism concepts, where post-modernism suggests a diversification and dismantling of modernism. In other words, the current design is closely watching products that are totally different from existing products, from complex and conceptual outcomes in the field of design to products that reflect various trends. Thus, it is true that package design, which proactively reflects current trends, freely traverses among specific domains of various fields that have been determined tacitly. It is also believed that other fields are also reflecting the same developments. Such a phenomenon is strikingly revealed with so-called 'fancy products', while other products 'parody' package design. This study sees the phenomenon as dismantling the border between product design and package design. The examined package design reflects the broader characteristics of the times, based on current concepts and meanings, after reviewing design examples.

• Archives of design research
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• v.18 no.3 s.61
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• pp.171-180
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• 2005

The purpose of this research is to investigate the nature of direction of the design corresponding to a human-centered design, digitalism, ecological design, and culture-oriented design which is an issue of design in the 21st century, from the design of the inside of a room. As a method of approach to this objective, first, 1 understand the form of boundary structure appearing in space, through the theoretical investigation of a boundary form. This research is trying to elicit the expression characteristic of kineticism which was introduced to the boundary form as a factor constituting space, by investigating the characteristic of kinaticism which was expressed in plastic arts and other genres. As a process of the proceeding of this investigation, It is explained the background, purpose, and method of this study in Chapter I, and look into the characteristic of the unfolding and expression of kinetic arts as well as the structure of a boundary form of space in Chapter II. In Chapter III, I divide the aspect of modern architectural space into realistic movement, relative movement, and associational movement and examine them. In Chapter IV, I investigate a case of modern space in which the three types of the characteristic of movement mentioned in Chapter Three was expressed, and analyze to what boundary structure the space was introduced. Last of all, in Chapter V, I elicit the characteristic of a boundary form of kineticism which was the result that appeared through the above analysis, and present the nature of future direction of interior.

• Archives of design research
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• v.17 no.1
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• pp.37-48
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• 2004

Keiji Kobo is a unique self-generated design research group in Japan, which was founded in 1928 when Bauhaus movement was in its peak, and which lasted ten years until the end of the Second World War, when any activity of the group became virtually impossible due to the war. With insight to see the future, the group aimed at Modern Design advocating a new spirit in architecture, and played a significant role in prosperity of Japanese Modern Design assimilating Western design trends. Pursuing of craft works for everyday life--practical furniture works--Keiji Kobo actively executed various projects to realize modern philosophy. The range of the works of this group was very large: survey, mock-up, experiment, research, exhibition, lecture, order-based sale, advertising and writing. The works of the group were oriented to serious academicism, not compromising with commercialism. Considering the peculiar political situation such as Japanese Militarism, the spirit of functionalism that the group pursued was surprisingly academical and pure. This group was relatively small and clumsy, which lasted as short as around ten years. However, strong motivation was in their seemingly quiet movements, and the influence of the group cannot be underestimated even with today's criteria. There were a number of pioneers who contributed to today's prosperity of Japan and Keiji Kobo can be estimated to be one of the pioneers in the field of design. It was found that the contemporary intellectuals hoped that the committment and activity of the group would contribute to modernization of the life quality of ordinary people. In a sense, Keiji Kobo can be estimated to be a little Japanese equivalent for Bauhaus that could not fully bloom.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.466-476
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• 2019

This study suggested a way to compose a flexible environment capable of meeting the needs of various users from the aged people to challenged people, and ordinary people by applying the concept of universal design. The purpose of this study was to develop a more convenient environment by deriving the best size and color for each subject and constructing a detailed design platform for each module. For this, the concept of universal design as well as the current bathroom designs were examined and various users were analyzed prior to developing the design. A virtual environment was prepared based on the results and its usability was evaluated in two phases with various users including the aged people, challenged people, and ordinary people. As a result, it received quite a favorable evaluation from users, over 90 out of 100 in average, which can be regarded as a proof that it is differentiated from existing bathrooms. This study may lead to the change in the paradigm of bathroom in residential space, development of safer and comfortable domestic environment, and the enhancement of the quality of healthy life through the development of a design platform for each module that provides new experiences to various users. It is hoped that these modular systems are continuously studied not only for bathrooms but also for various residential spaces where people can stay.