• Korean Institute of Interior Design Journal
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• no.25
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• pp.61-67
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• 2000

The goals and meanings of this papers are set up to analyse the trend of Design immerged in 21st century with studying Fusion culture which is related with Digital concept that is the most spot-lighted in 21st century and summarizing the effects of this tendency given to Design. We are experiencing Digital Revolution which leads us from Analog Society to Digital society. Also, this means that New Millenium starts with characteristics of [End of Century]. I focus on the concept of Fusion-design, in the view of Art-Nouveau and Post-Modernism which came over the end of 19th century and the beginning of 20th century. Furthermore, I define the Fusion-design of Digital era and find the way that design of 21st century develops.

• Archives of design research
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• v.14 no.2
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• pp.47-56
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• 2001

What is 'fusion'\ulcorner And how should we accept it, which has been appeared before us with an irresistible force in the 21 century through the whole area of scientific branches\ulcorner And does it mean a mere physical 'mixture' or a chemical 'compound' among the fused parties\ulcorner And is it an impartial fusion among the parties or a partial Fusion absorbed by the stronger party\ulcorner We cannot give a right answer without full comprehension of the meaning and process of Fusion. In this respect, 1 would like to touch upon many of these matters on Fusion and stir a attention to the fact that our life quality must not be damaged by the sudden appearance of Fusion in this era. In the future, there will be a bigger Fusion in so many a field than now between the advanced and the underdeveloped countries of the world. Nevertheless, it doesn't always follow that Fusion gives us the best way of arriving to happy lives. There are still too many undesirable things in it. And then, I conclude that it is through the multidisciplinary research and its systematic analyses that we can solve many negative problems on Fusion.

• Archives of design research
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• v.13 no.3
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• pp.211-220
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• 2000

Cultural contact, which means a current that an influential culture diffuses to another, represents the penetration of the one to the other in a negative respect and'mixture'or 'fusion'of them in an affirmative respect. Fusion of cultures was not easy to take place in the past when nationalism and ultranationalism suppressed it ideologically, inconvenient transportation and communications were obstacles to it, and most of countries were under the influences of folk religions. Today, however, mutually heterogeneous cultures can be shared by a lot of things such as collapse of a view of nation resulted from globalization, breakdown of regional characteristics, abolition of trade barriers, freedom of communications and realtime information network. Those have rendered fusion possible. Fusion in this modern consuming society is extending much faster and more extensively than at any time in the past. In addition, more and more cultural elements seem to collide and compromise with one another in the name of fusion, not relaxing the bridle of fusion, from the present situations that preference in consumption becomes subdivided and a variety of individuality is strongly attempted to seek for, This study is on the subject of the properties of'Fusion', one of new styles in a mass culture, especially focused on sociologic cultural phenomena. Furthermore, it is expected to look for a fusion in interior design which expresses sociologic cultural phenomena most in a field of design, to examine it theoretically, and to prospect a future trend of fusion design based on investigation of the latest prevailing trend.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.3-10
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• 2001

In recent years when the importance of public communication is more emphasized, it has to be noticed that we are now living in the public-initiated age of rhetoric resulted from rapid development of broadcast media. Therefore, the purpose of this treatise is to examine the structural characteristics in the fusion design in order to anaylize the rhetorical expressions as symbols of communication. One of those is intertextuality that expresses metaphorically by bleding and borrowing codes and another is hypertextual space where various texts twines around each other making brand-new and diverse organizations, as the combined allegory with a number of hidden expression. The fusion design may be understood as the Intention to attract gaze to visual messages and as the rhetorical expressions based on compounding aesthetic codes by producing new cultural meanings. If fusion, a phenomenon which represents the 21st century, not a passing fad of cultural mixture, is ready to take the initiative, the design has to be groped for that creates a synergy effect.

• Korean Institute of Interior Design Journal
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• v.13 no.2
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• pp.10-19
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• 2004

In order to attain unique aesthetic value, diversity of meanings of Fusion Design, 'openness', requires meaning interpreting process(communication) which harmonizes and combines new codes suggested by authors(senders) and codes interpreted by public(receivers). For this harmony, we should consider all the art aspects(integration of synchronic and diachronic, anti-rationalism ideology, negative concept) that are bases of creativity of Fusion Aesthetics. Moreover, we can approach open thought system of Fusion Design through theories of Entropy and Rhizome. This point of view which allowed a categorical means of natural science theory to be used in design context changed a methodic or interpretative perception. Not only in art interpreting process does Fusion Design take openness as one of its necessary factors but also in creating process, which enables a work of art to be opened at the maximum. In conclusion, the significance of fusion design is to suggest an ideal model of communication abstracted from open art works.

• The Science & Technology
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• v.34 no.3 s.382
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• pp.14-15
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• 2001

• Asia Marketing Journal
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• v.4 no.3
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• pp.75-85
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• 2002

경쟁이 치열한 글로벌 시장에서 우리나라 기업이 국제적인 경쟁우위 확보가 필수적인 세계 경제환경이다. 고객의 요구를 선행적으로 파악하고 상품개발과 디자인에서 고객만족을 달성한 현대 자동차의 싼타페 사례를 분석한다. 퓨전 SUV 싼타페의 성공요인은 크게 두 가지로 볼 수 있다. 첫째, 소비자의 요구를 선행적으로 반영하여 안전성과 품질 면에서 뛰어난 성능을 가진 제품을 개발한 것이다. 둘째, 미국 현지주도의 디자인 개발로 세단을 능가할 수 있는 세련된 디자인과 알맞은 차체 사이즈로 글로벌 시장에서 소비자의 요구를 충족시킨 것이다. 아울러 향후 제품 포지셔닝에 관한 전략적 방향을 분석한다.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.143-150
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• 2001

This paper aimed to suggest a new model of fusion furniture design which fits with our surroundings of today. This was performed by grasp and evaluation of recent trend of fusion culture in Korea in order to apply it to the furniture design of fusion style. Fusion furniture design was tried and applied to the table showing unique characteristics of Korea traditional small dining table with modern touch. The result of this paper could also contribute to distribute the unique characteristics and beauty of Korean traditional furniture in the World.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.167-178
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• 2007

The purpose of this study is to systematically examine fusion phenomenon in the cultural aspect aiming to grasp the characteristics of fusion phenomenon, which has a steady impact on fashion trend. A reason for fusion to be noted as a cultural code is because diversely cultural interpretations are impossible from one viewpoint. Therefore, it is aimed to inquire into the characteristics of fusion culture, which is one phenomenon of newly mass culture, and to examine which cultural fusion phenomenon in modern fashion is being displayed in fashion design. First, the culturally fusion phenomenon, which was indicated in modern fashion, is displayed as repetition. The fusion, which integrates into fashion as a cultural code, is a trend of pursuing the experience with different culture. The needs of consumers are shown as fusion fashion that repeatedly uses the traditional detail and the modern detail through cultural repetition. Second, it is displayed as transformation. A concept of fusion is not the simple aggregate in [1+1=2], but the creation of new culture called [1+1=1]. In modern fashion, the cultures in the East and the West are harmoniously transformed, and through transformation, each culture is being compressively delivered. Third, it is displayed as interdependency. The fusion fashion which was newly re-interpreted while having reciprocal influence upon mutual culture, is re-interpreted by forming the equal relationship in heterogeneous elements without destroying fashion that was made previously.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.45-54
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• 2011

The purpose of this study is to help understanding of east-west culture fusion in fashion since 2000 years, to play a guideline's role in the development on fashion designs study. The methods of this study are academic literatures as well as practical study through case studies about actual works. Tendency of east-west culture fusion in fashion since 2000 years is shape and performance, pattern, accessary. Shape and performance are reinterpreted through east folk fashion transforming on west fashion, pattern shows traditional pattern of each nations, but letters of typical of each nations appears for new pattern which expresses nation identification. Accessary is in the harmony with east -west fashion culture like that without transform. Aesthetic value of east-west culture fusion in fashion since 2000 years is summerised opening, co-ownership, and amusement. First, opening is positiveness of acception and acknowledgment for other. Second, co-ownership turns towards humanism, and proves participating in globalism and really global village. Third, amusement is to express freedom, and to reveal privately emotion concealing in public area.