• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.6
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• pp.26-37
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• 2003

Urban park are indispensable elements of contemporary cities. However, the structure and culture of contemporary cities is currently changing. There are prevalent discourses that Olmstedian parte are no longer relevant to our new societies and cultures. New kinds of parks have emerged with different forms and functions. In order to propose a new paradigm for parks in the 21st century, we need to look back to the origin of modem parks, which is to say, Olmstedian parte. This paper aims to trace the background of park movements in the 19th century America and to identify and describe Olmsted's idea of urban parks. In addition, the paper will clarify the limitations and reinterpret the meaning of Olmsted's idea of urban parks. One idea behind the development of urban parte was to mitigate urban problems such as public health, alcoholism violence and class conflicts in 19th century industrial cities. The aim of urban park was partially achieved at that time. However, those parse did not serve the use of diverse classes. Olmstedian parks were designed for passive and civilized recreation, and lower classes were more attracted by active theme parks and areas such as Coney Island and John Wood. The strengths of Olmsted's idea of urban parte can be outlined as follows: First, designing parte goes beyond shaping physical lands to embrace social reforms. This means that park designers should have a critical understanding of society and culture. Also, landscape designers should have a bold vision for the future. Without such a vision and social agenda, landscape architects cannot postulate alternative possibilities through engaging in new practices. Second, Olmsted successfully adapted British landscape aesthetic ideas such as the picturesque, the sublime and the beautiful into an American context. Finally, his vision and idea of urban parks show us that landscape architecture is not just technical work, but that it can create a locus to engage a new cultural praxis by inventing cultural products - parks.

• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.2
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• pp.31-38
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• 2006

An architect for Cultural Technology have the most obligation to improve the cultural inheritance into an industrial resources. From an esthetical point of view, it is possible to put digital contents to a multiplicity of practical usage in the moment of its' digital conversion. These are practical resources out of an only duplication from the original. Developing cultural archetype into the most suitable model for one-source multi-use that is the core of the project. If you want to change an archetype, a Korean traditional architecture, into a creative source, you should develope a reappearance and a practical model harmonized with the image set. In addition, development process of cultural archetype digital contents based on ultimate idea and imagnation in our architectural culture, referred from cultural archetype and digital contents technology was offered by the study.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.19-28
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• 2003

Residential space can be stated as a decisive body compositely affected by environmental, physical, social, and cultural influences. Resulting from this idea, residential space can be defined as a mirror reflecting peoples' life at that period. Therefore, it is possible to understand the social and cultural aspects of a certain era through analyzing the residential space built and used at that period. Viewing from this point, latter term of Chosun Period, as a transitional period, was a tie of collapse for the structure of middle-class society forcing its identity system to be reorganized, and of improving upon commerce, agriculture, and manual industry to enable modernization. Following this idea, the goal of this research is to analyze characteristics of higher middle class residences built at the close of 19th century in Gyeonggi province in order to bring into light the change of social structure of the period.

• Asian review of World Histories
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• v.3 no.1
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• pp.113-135
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• 2015

The word 'urbanity' literally means 'quality or state of being urban' where the criterion of urban economic and civic culture is assumed despite the general celebration of cultural uniqueness of urban centers. The narratives celebrating the uniqueness of urban centers since the ancient past till recent times could not get rid of the broad categorization of the urban models depending on their contextual networks of trade, mobility and culture. This paper attempts to explore whether the urban cultures in South Asia even preceding a global phenomenon like colonialism were actually reflecting an idea of urbanity where the urban culture, including planning and architecture reflected a trans-national model. This paper particularly concentrates on the medieval period when a pattern of urbanity took shape in this subcontinent under the influence of Islam, which could be explained by its particular idea of urban model, cultural exchange and vibrant trade networks.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.14 no.1
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• pp.45-62
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• 2003

This studied conceptional definition of digital contents and necessity of cultural contents by digital technology in progress. In addition, development process of cultural archetype digital contents based on ultimate idea and imagnation in our culture, refered from cultural archetype and digital content technology was offered by the study. Through abstraction of cultural archetype contents factor, this study deduced development model of digital contents extracted by value chain of cultural archetype contents.

• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.39-64
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• 2023

The recent expansion of large cities for economic benefits has worsened cultural inequalities within urban areas, eroding unique cultural identities and social values and deepening mistrust between regions. To tackle this, the idea of creating cultural cities is gaining traction, involving urban branding and cultural elements to foster balanced local cultural development. Current research primarily concentrates on case analysis in cultural cities, lacking sufficient studies examining the interplay of factors through empirical analysis, This study investigated whether Cultural City Formation Factors, which are resources of a cultural city, have a positive effect on City Brand Equity, City Innovativeness, Brand Personality, and Behavior Intention. For this study, questionnaires were collected from 310 people who continuously experience culture and arts in Seoul, and empirical analysis was conducted on 292 copies of them. Consequently, a significant impact was observed among the factors influencing cultural city formation, city brand equity, city innovativeness, brand personality, and behavioral intention. Moreover, it was verified that city brand equity, city innovativeness, and brand personality positively contributed to mediating effects as well as sequential mediating effects. It is expected that the results of this study will be used to establish the foundation for effective urban management and the development of strategies for creating cultural cities.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.3-11
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• 2009

As the idea and function of the 'Model House' alters, so does the name - 'Housing Exposition' or 'Housing Cultural Center'. Its function Is not only to show and sell but to educate, promote and show culture. It works as a 'communication ground' about house. With the growing number of the Housing Cultural Center and the importance of function, major construction companies are building it competitively to connect the relationship with clients by expanding service. However, despite the necessity of 'Housing Cultural Center' is increasing, function and component of the Housing Cultural Center are yet defined and also specific direction of design, consumer services and programs are not properly established. Also, they are promoting and selling in lots only for a limited period which have problem in clients to participate and know about the characteristics of each companies promotion. Most of Housing Cultural Centers are similar in concept, shape, color use. The purpose of this research is to analyze the Housing Cultural Center with spacial and visual elements that comprise Housing Cultural Center, and study identity factors, distinct characteristics and build identity of the Housing Cultural Center. Ultimately, companies need to put forth to make difference in their own identity and apply it effectively in order to firmly establish identity.

• Asian review of World Histories
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• v.1 no.1
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• pp.5-44
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• 2013

This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.

• Archives of design research
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• v.20
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• pp.231-240
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• 1997

In the every genre of arts we can find the oriental Yin-Yang idea which has been descended from olden time in the Orient. It arouses our big interest especially in the domain of design and plastic arts as well as in the every field of human culture, and its study and application will enrich the qualities of design and plastic arts. I think it is with the Yin-Yang idea that we have to chase to our own cultural activities to make differance from the others. Without it, we cannot advance any more the traditional heritage into better and higher state of level than the West, and our philosophy and spiritual activities be stagnant in the same cultural categories as oter countris have in common. The countries which have no distinguishing feature of their own are very easy to place themselves in the border of world culture, not in center of it only to give an immitatin of others. I would like to put great emphasis on Yin-Yang idea in the field of design and plastic arts because it will give newness and novelty to all the p대ple who are not familiar with the oriental Yin-Yang idea.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.107-113
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• 1998

This stud tires to present a general picture about Alessandro Mendini's unique idea of redesign. One of Italian post-war redical architect and designer mendini gives us a special opportunity to appreciate the social cultural and political context where the post-war Italian design lies. Also known as "banal design" Mendin's design revolutionized the way in which we practice utilize and think about design itself. It is my opinion that the idea of his redesign can be best understood when we consider the social contest of Italian design. Unlike that of other European countries post-war Italian design gave special emphasis on how design can or should be more than a simple activity of making aesthetic or industrial products. In terms of these possibilities Mendini was never optimistic : today we are completely controlled by dehumanized mass production and it is impossible for design to take a special role for a social change Then Mendini's pessimism is bound up with the spirit of this age widely known as postmodernism. Even though Mendini himself never characterized his design as postmodern it is not difficult to identify various postmodern elements in his idea and practice of redesign. Thus in the final section of this study I shall investigate the postmodern elements in this design and furthermore such an idea as what makes Mendini postmodern.