• 한국실내디자인학회논문집
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• 제15권5호
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• pp.95-103
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• 2006

Ron Arad, the master of contemporary design in the U.K., is one of representative leaders of this age who has left distinguished achievements in the history of contemporary design through innovative design. Analyzing and understanding the Deconstructive design concept and the deconstructive characteristics of interior space of Ron Arad will contribute to finding directions for today's design and laying the ground for explaining the development pattern of design in the 21st century. After analyzing the deconstructive characteristics of each selected space, One Off and Ron Arad Associates have shown a deconstructive design trend of a creative formula by using methods that shed conventional processes and material while a space composition and form of new concept was attempted in the resting space of the New Tel Aviv Opera House, offering not only the establishment of a new circulation system, but also diverse experiences of space to visitors. Likewise, a temporal experience and communication between the user and the space was attempted in Belgo Noord and Belgo Central by partially applying a narrative space composition that sheds existing design concepts. At the Millennium House, they have produced an interior space for future house developed by breaking off from existing typical design development work and material through computer operation, and made various forms of space and atmosphere possible by attempting variable elements and the use of ultramodern material. Y's fashion shop has granted variability to the form and volume of space according to time by presenting display elements that have shed existing form and function. Hotel Puerta America as well, with a curved structure that has broken off with existing forms and maximized space variability through structures that have utilized ultramodern materials and instruments. Through this study, it has been verified that Ron Arad has been unraveling connections between interior space and its user, its requirements, and the original unique principles of space by applying deconstructive design concepts, and that through the mediation of these spaces, he is attempting indirect communication with the user. Eventually, he is taking part in the harmony and development of all elements of space connected with human beings by applying deconstructive design concepts.

• 한국의류학회지
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• 제24권8호
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• pp.1155-1166
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• 2000

The purpose of this study is to investigate deconstructive trends of the street fashion in the 1990s spring/summer(S/S) Collections. This study was carried out by both the qualitative analysis and the quantitative analysis. In the qualitative analysis, the important street fashion was grouped and deconstruction was sampling of category. In the quantitative analysis, it took frequency, percentage and $\chi$$^2$-test. The results of the quantitative analysis are as follows: 1. \"N대-Hippie/Grunge\" has been most popular street fashion through the 1990s. The next is \"Sportive Casual\". 2. According to \"deconstructive inner meanings\", there are significant differences between the S/S street fashion in the 1990s. In \"N대-Mods/Jazz\" style, \"Sportive Casual style\" and \"Technos/Cyber-punk\" style, \"Intertextuality\" is high. In \"N대-Hippie/Grunge\" style, \"Exhibition of Otherness\" is high. 3. According to the \"deconstructive outer description\", there are also significant differences between the S/S street fashion in the 1990s. But, In \"Neo-Mods/Jazz\" style, \"Not Included\" is high, which means the \"N대-Mods/Jazz\" isnt related to the \"deconstructive outer description\". In \"N대-Hippie/Grunge\" style, \"Poverty.outworn\" is high. In \"Sportive Casual\", \"Exposure\" is high. In the \"Technos/Cyber-punk\", \"Destruction.Division\" is high.

• 한국콘텐츠학회논문지
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• 제21권9호
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• pp.88-104
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• 2021

포스트모던의 영향을 받은 해체적 그래픽디자인의 시각 표현은 명확한 이미지와 텍스트로 구성된 전통적 형식의 그래픽디자인 표현법과 달리 도전적이고 실험적이었다. 이런 해체적 그래픽디자인의 시각 특징들은 작품을 감상하는 데 있어 미적 경험의 주체로서 독자의 중요성을 강조했다. 본 연구는 수용자 즉 독자 중심적인 문학 연구 이론인 수용미학(Aesthetics of Reception)을 중심이론으로 상정하여 해체적 그래픽디자인의 실험성으로 인해 나타나는 특징들에 대한 이념적 틀을 새롭게 형성하고자 한다. 해체적 그래픽디자인의 작품 해석을 위해 볼프강 이저의 수용미학의 특징들을 도출하고 이론의 범주로 대입하여 해석이 어떻게 확장되는지 분석하였다. 그 결과 수용미학은 작가와 독자 간의 상호 작용에 관심을 둔 문학 연구 이론이지만, 포스트모던의 영향을 받은 해체적 그래픽디자인에 대한 새로운 작품 분석 방법론으로써 이론적 토대를 마련, 작품 해석의 지평을 넓혔다. 또한 현대 그래픽디자인을 감상하는 능동적이고 창의적인 역할이 강조되는 독자에 대한 상호 콘텐츠 연구의 새로운 방향성을 제시하였다.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.35-46
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• 2016

The purpose of this study was to identify the characteristics of expressionism in the space of deconstructive architecture by comparing the spaces of "The Cabinet of Dr. Caligari" video with the expressionist characteristics of film narrative structure and expressionist architecture and making an expansion based on the results. The findings were as follows: first, the "The Cabinet of Dr. Caligari" is divided into two set spaces: one has the perspective representation distorted in the viewpoint of a mad person applied to it, and the other reflects the viewpoint of a normal person from medieval paintings with no perspective. Second, the expressionist buildings did not reflect the expressionist characteristics in the interior spaces as fully as in the exterior ones. Third, the incomplete combination of Signifiant and $Signifi{\acute{e}}$, which were the theoretical basis of deconstructive architecture, showed a tendency of binary opposition like the double narrative structure of "The Cabinet of Dr. Caligari." Fourth, deconstructive architecture seems to embody the exterior form and interior space of "The Cabinet of Dr. Caligari" and its set spaces in the phenomenal aspect but exhibits its limitations with the realization of dynamics, one of the characteristics of expressionism. Finally, the Seattle Public Library presents the best embodiment of expressionist characteristics found in the set spaces of "The Cabinet of Dr. Caligari" while seeking after the combination of horizontal and vertical paths of action through the spiral ramps and inclined slabs.

• 한국패션뷰티학회지
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• 제5권2호
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• pp.75-84
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• 2007

All styles began to coexist by recognizing diversity and changeability instead of an absolute value system of beauty or truth in the general culture field of modern society. In other words, the characteristic of deconstructism, which breaks down the boundary between order, balance, style and genre within the texture, is brought out. This characteristic is also having an effect on the field of up style in a hair genre to secure the beauty of incompletion as the beauty of the present time, involving the beauty of ugliness in the boundary of beauty. This study aims at presenting new vision by applying deconstuctism to the up style to express as an original and experimental formative art with various expressive methods. In addition, it aims at being perfect for presenting the creativity and artistry through expressive techniques by formative factor of deconstructive up style to find new methods and directions to design concept with main expressive ability of deconstructive up style.

• 복식문화연구
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• 제10권4호
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• pp.461-472
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• 2002

The purpose of this study was to analyze the expressive style of radical feminism and post-modern feminism appearing on the contemporary denim fashion by examining pictures from professional fashion magazine Vogue. For this study, I investigated documents to study the characteristic of radical feminism and post-modern feminism and classified the contemporary denim fashion into erotic look, endrogynous look and deconstructive look. The results of study on the expression style of feminism reflected on the contemporary denim fashion were as follows: First, radical feminism emphasizes that women's sexual feature is never inferior to men's. Therefore in denim fashion, erotic style which emphasize on women's sexual beauty is represented by making hot pants, mini skirt, halter blouse of denim and by using colored jeans and flower print or beads on denim. Second, post-modern feminism has been represented by disregarding or intergrating the existed rule as refusing sexual discrimination. It has been represented in fashion as an endrogynous style by representing neutral gender image. Today, it is represented in denim fashion by mixing a different fabric with denim and matching womanish design with mannish design. Third, post-modem feminism are classified into unfixed expression of genders and the deconstructive expression of methodology. The deconstructive expression of denim fashion is represented by using the damage of fabric by making a hole or tearing intentionally or fraying edge of denim. Also the unfinished designs and transformed dressing are used to express the deconstructive character in denim.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.56-64
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• 2012

This paper has tried to analyze the characteristics of space in Korean traditional architecture by deconstructive concept through connecting Lao-tzu's theory, the main discourse of East and West, with Derrida's deconstructionism theory. Derrida's philosophical term of differance(diff$\acute{e}$rance) is similar to Tao of Lao-tzu. It is because Derrida emphasized the relationships with others by trying the strategy of overcoming dichotomous thinking by this term. Tao of Lao-tzu also has the relative characteristics that cannot be concluded by one sole meaning. Like this, Derrida and Lao-tzu are against traditional and dichotomous way of thinking. In this point of view, this study has set Derrida's deconstruction theory and Lao-tzu's thinking as the common viewpoint of this world. And through the phrase of Tao Te Ching which means deconstructive Tao, deconstructive space design vocabulary was derived as mixed no-boundary, shape of no-shape, transcendence of time and space. The deconstructive characteristics of traditional space by case study analysis of Lao-tzu's deconstructive space design are as follows: First, it is not a specific or detailed shape but an unlimited possibility that can be transformed into something else, moving and changing endlessly and has a borderless beauty. Second, it is nothing itself but creates various shapes, as if it exists without shape. Third, it is a relative and unlimited space and pursuits a free form as a non-conceptional shape without any system or value.

• 대한가정학회지
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• 제35권3호
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• pp.89-100
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• 1997

The formal constructions of deconstructive architecture in the contemporary fashion expressed as intertexruality, difference and trace and the working of DIS and DE, and intertextuality in deconstructive has manifested itself as the intertextuality of material, hybridization of items, the blending of modes and the bi-sexuality of sexes. And the difference and trace found in fashion are fantastic and playful and come to exist as historicity. DIS and DE in fashion shows the retrogression of gravity through non-structural silhouette. Their disentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in fuctional terms.

• 복식문화연구
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• 제23권4호
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• 영미문화
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• 제18권3호
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• pp.115-170
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• 2018

The objective of this paper is to explore Jim's itinerary journey in terms of both Girald's concept of triangular desire and Derrida's concept of event. According to the Girard's mimetic desire theory, human being's desire is not spontaneous like Romanticism thought, but mimetic to the mediator between the subject and the object. Thus there is no romantic desire understood as one's own desire except mimetic desire. In this regard, mimetic desire is compatible with the conception of Derrida's thinking of an event that is resistant to its absolute singularity. Because both mimetic desire and event cannot be defined by the fact of each spatio-temporal specificity, they can not be understood by a traditional metaphysics of presence. In this paper, by using Girard's concept of mimetic desire theory, I showcase why the tragic journey of Jim's telos as a mythic quest for his romantic ego(ipse) cannot help but face his death and by using deconstructive thinking of iterability, this paper analyzes why Jim's romantic ego imitated by the mimetic desire through a mediator cannot be encountered happily with his ipseity until his end. As a victim of triangluar desire, Jim's romantic ego is nothing but a notion of an ipsiety that has been defined in terms of presence central to metaphysics. This paper also makes an attempt to re-interpret some articles contaminated with post-colonial perspectives from Derridean views with deconstructive rigorous reading to those papers to uncover an essential ground of presence.