• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.200-208
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• 2020

The domain of Web design gradually expands with the utilization of the Web and the development of technologies, but there are insufficient related studies. Thus, this study would recognize the importance of the Web design market and present the direction of designs in the future by investigating the process of changes in Web design. This study investigated the background of the revelation and evolution of design expression techniques and the flow of the information technology affecting the design and conducted a study analyzing the process of changes of Web design based on this. It is judged that this study has significance as the baseline research material for the expansion of the Web design domain of the future. As for the scope of the research, based on 30 years of the history of the Web, this study was conducted with materials on Websites, which had become issues from 1990 through the early-2000s and selected the winners of a grand prize in Web Award Korea since the mid-2000s as the subjects of analysis. This study analyzed the formative characteristics of design expression techniques and the characteristics of the information technology that affected Web design. As a result of the research, changes in design expression techniques could be divided broadly into minimalism and skeuomorphism, and it was found that the methods of expressing Web designs changed in various ways, affected by the development of information technology. It is predicted that with the emergence of various devices and the vitalization of video contents, the designs affected by minimalism, which can harmonize with them, will continue in the future.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.100-117
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• 2012

This research aims to study comparatively on the aesthetic characteristics of minimalism and maximalism in the 2000s fashion, based on the previous studies in art and design. For this purpose, literature survey and demonstrative analysis of fashion collection photographs were performed. The scope of this research is from 2000 to 2010. The results are as follows: First, the formativeness of minimalism fashion in the 2000s is analyzed as understatement, simplicity, non decorativeness. The internal meanings are reduction, purity, asceticism, transcendence and practicality. Second, the formativeness of maximalism fashion in the 2000s is analyzed as enlargement, fusion, decorativeness, luxury and avant-garde. The internal meanings are pluralism, open mind, sensibility, fun and materialism. Third, minimalism and maximalism fashion in the 2000s are opposite when compared to each other. While minimalism pursues the nature of human being by ascetic approach, maximalism does it by immersing in human affairs. Within the spectrum of these two opposing ends, there are different degrees of expressions. Also these two trends fuse with other styles. As these trends express and pursue the nature of human being, they are expected to exist incessantly in the future.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.96-106
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• 2015

Occupying the center of architecture, design, painting and culture, minimalism is aesthetics of essence that reflects modern age but transcends age at the same time. Pursuing minimalist trend like this and covering the range of furniture, interior and architecture, total designer Antonio Citterio is developing minimalist designs of his own. Called one of the 3 greatest furniture designers in the world today, he leads the trend and enjoys high reputation as a world-renowned interior designer and architect. Therefore, the purpose of this study is to analyze and integrate minimalist descriptive characteristics which appeared in interior space of Citterio who pursues minimalist design. As a study method, this study reorganized minimalism from methodological perspective, drew out expressive characteristics of minimalist interior spaces unique to Citterio based on background and influence of Citterio's design and, centering on this frame of analysis, analyzed and integrated interior spaces he designed. The results of this study are as follows; first, in order to overcome problems that can become monotonous in a minimalist space, Citterio provides spatial experiences to feel visual and spatial variations using the ramp and bridge. Second, he created various senses of space with visual and spatial expansion using transparency in the walls made of glass. Third, with linear expressions, he designed modern spaces with beauty of proportion and balance through contrast and emphasis. Fourth, he made constructive expression through exposure of structures or stairs in the space. Fifth, he created sophisticated atmosphere with contrast between natural and artificial materials and emphasis of material properties. Sixth, his design also shows the characteristic of using furniture as the role of adjusting overall atmosphere of interior space, not as separated parts from it. The author hopes that above results of this study will provide new implications for the development of domestic interior design.

• Cartoon and Animation Studies
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• s.34
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• pp.1-22
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• 2014

The purpose of this research is to study a case of allegory and experimental presentation technique in Film by Zbigniew Rybczynski. It is to analyse this study is to inquire into the fact that experimental animation carries diverse interpretation of comtemporary art and the purpose of this study is to identify certain style through the interpretation of allegory focused on film Tango which has expanded the field of experimental animation with the unique form of the film structure and technique. Therefore, in this research, I would highlight the characteristic of allegory in Film by Zbigniew Rybczynski and research the experimental presentation technique that appears in experimental animation focused on "fragmentation" which are the expressive style of allegory.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.98-108
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• 2010

The purpose of this study was to analyze the monumental expression of Korean War Memorials(KWM) in Korea(KWMK). Through site survey and internet searching, the researcher selected 17 KWMK and analyzed four analysis categories: contents, spatial form, landscape elements, sculptures and architectural elements. The results are as follows: 1. The analysis revealed that main contents of KWMK were to cherish victims of the Korean War, honor military merit, and explain Korean War. 2. Most KWMK built battlefield had the form of symmetry and spatial axis arranged monuments and sculptures for solemnity and heroism. Though the sites were terraced by traditional spatial order, spatial sequence wasn't seen except Yang-gu KWMK and Chumomyeongbi in United Nations Memorial Cemetery in Korea. 3. Stone monument-like towers, tablets, podium, monoliths, cenotaphs, and exhibit halls to explain Korean War and combat history were used as main elements of KWMK and also, war weapons were often displayed the flags of countries taking part in Korean War were raised with Taegeukgi and the United Nations flag. 4. Most sculptures were used as important media to represent the Korean War and assumed realistically the form of heroic combat. But a few architectural memorial built in recent were designed in contemporary style to have spatial sequence and represent Korean War symbolically and narratively. 5. In memorial culture, KWMK were strongly influenced by ideology and patriotism, impacted by conventional value, and designed by some sculptors and designers in a certain circle. Further study will be required to analyze the characteristics of KWMK in the point of design style and diachronic.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.