• Korean Institute of Interior Design Journal
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• no.41
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• pp.88-95
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• 2003

The paradigm of contemporary times became different from paradigm of modem times. The change of paradigm is caused by the side effect of paradigm of pre-times. It could be said that contemporary paradigm is pluralism. In the forms of contemporary building and interior design, the informal form is the result of pluralism. This study is researching and analyzing the informal design tendency in the interior space composition of contemporary architecture. the 1950's free form movement, 1960's Informal movement and pluralism after 1970's affected the latest informal forms. The tendencies of contemporary informal design are organic-degital tendency and deconstructive tendency. Along this two kinds of tendencies, I studied the specific characters in expression and analyzed some natural-degital, deconstructive building.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.925-940
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• 2003

The purpose of this study is to analyze the major influence of postmodernism on 20th century fashion. Due to its characteristic traits like pluralism, indeterminacy, and immanence, it can be said that postmodernism in fashion manifests itself in an overlapped and duplicated style. The conceptual side has to do with such various 20th century thoughts as decanonization, deconstruction, populism, and in fashion it is presented as subcultural style, syncretic style, and post-feminist style. The stylistic side of postmodernism in fashion also has to do with fragmentation, hybridity, stress on performance and participation, carnivalization, deconstructive turn, and it is presented as hybrid expression, deconstructive technique, performance, and so on. In the latter part of the 20th century in which postmodernism blossoms in various fields, fashion also participates in the current of the times, together with the rapid stylistic turn, the co-existence of various trends, and the experimental or avant-garde new trials. However, it should be said that all of these tendencies mean not so much blurring of the boundaries between styles as developmental mixture of styles coming from juxtaposition after fully realizing the boundaries of contrast and combination.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.161-164
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• 2005

The concept of Space-time is performed while the movement of human Is imaged on coming 20th century up. Specifically it is considered that the movement of human is caused by the relativistic otherness rather than an absolute subject in space of deconstructive tendency. The purpose of this study is that I try to analyze an expression of relative space-time concept in desconstructive tendency and I have to get a concept how this kind of expression effect the contemporary commercial space. Through this study, I can get to know that the expression of relative space-time concept expresses the dynamic construction by the indeterminacy and the visual effect by the dematerialization in the contemporary commercial interior-space. According to the result of study, the concept of space get to be more meaningful, relative space-time concept and it can be attributed to the concept of human's new creative space over human's life in general.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.91-107
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• 2002

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan' works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says' Challenging is the best word for me'. And so word, 'radical' that has difficult connotations was chosen for this study It implies two menainigs for the word. The first thing is "extreme" - something that is drastic. And 'Applied to clothes', it can probably mean "experimental". He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts. tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses. a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body's function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.dings into clothing.

• Archives of design research
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• v.19 no.3 s.65
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• pp.207-218
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• 2006

21st century is called digital and information era. The visual communication becomes more important than any other centuries. Visual communication design has been represented in varied images from ancient society up until the present time. Especially graphic design, which has experienced artistic upheaval from modernism and postmodernism, has been enabled to deliver messages in a more developed and sensuous appearances. Deconstructionist design wasn't well received by modernism, an advocate of practicality and effectiveness; however, as the beginning of subsequent postmodernism, it started to earn a warm welcome from a number of designers. Postmodernism made it possible for deconstruction to be a new paradigm appreciating neutral respect for varied expressions and designers' idiosyncrasy. Corresponding to this new trend, Edward Fella published his artwork 'Letters on America', which introduced a variety of vernacular design works in America. It was the result of years of research, and included materials which were not something completely new to field of communication design but rather symbolic, deconstructive images available everywhere around us. Deconstruction broke away from the previous modernism's unity and standards, and sought to achieve a new tensional deliverance. As a consequence, images were created in destructive and incomplete forms. Graphic design also complied with this new code and its advent fascinated the artists in the fields of advertising, editorial and poster designs. This paper contends that contemporary graphic design still maintains a deconstructive representation, examines its locality in design works from an aesthetic viewpoint, and researches theoretical approaches to deconstructionist and case studies conducted domestically. There has been incessant critical contradiction in terms of the heritage of deconstruction. I would like to present you with a moment in which you can struggle to decide whether it is a result of an effort to get away from modernism or an offspring of postmodernism.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1111-1130
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• 2011

Reading postmodern texts certainly situates readers in roles different from the ones we have been used to. Recently, postmodern metafiction forms a significant body of children's literature that is intended to challenge and transform the conventions of books in the digital age. While many studies have been done as to how child readers have capabilities to appreciate and interpret postmodern metafiction picture books, few studies on teachers and preservice teachers' reactions are not readily available. The role of teachers and preservice teachers are crucial for child readers to have access to affluent reading resources. This study discusses how preservice teachers read and respond to postmodern metafiction picture books using a deconstructive approach by means of binary opposites. Data was collected with 14 preservice teachers as to their likes/dislikes, reading levels, and reading paths about postmodern metafiction picture books. Expected pedagogical implications for literacy and language education were requested to address in their reading diaries and response papers. With their likes/ dislikes, since binary opposites always imply the hierarchy of power and value, the likes is apparently more valued and appreciated over their dislikes. This differentiated values are discussed in more detail with three recurring themes-Education, Morals and Behavior, and Tradition. With reading levels, there seems to be a gap existing between the authors' implied reader and literary critics' and the preservice teachers' ideal readers for the postmodern metafiction picture books. Although many studies have already revealed young readers' capability of appreciating postmodern metafiction, it depends a lot more on the teachers and preservice teachers whether children's right to have access to affluent literacy resources is respected or not. Preservice teachers' awareness of the potential of postmodern metafiction will work as an initial step to bring and realize the new reading path and new literacies in classrooms. By challenging metanarratives of children's literature, preservice teachers' readings of postmodern picture books reveals potentials to raise different reading paths and develop new literacies and other educational implications.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.91-107
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• 1999

The primary purpose of this study is to inquire into the characteristic of exposure presented in fashion, identify the correct concept of exposure from an aesthetic perspective, and grasp the contemporary meaning of exposure presented in fashion. As a result of study, the following findings were obtained: First, the surrealist style of fashion exhibited representations such as the relocation of the partial details, the harmonization of the natural and the artificial, the emphasis or expansion of each part of the body, and the like. It used highlighted the genital region with ornamentations or used the technique of paradoxically exposing the part of the body always covered. And it exbibited the paradoxical relationship of exposure and concealment by exposing the concealed part of the human body. Second, the post-modern style showed the complicated phenomenon that the values of several meanings such as the historic, the folk, and the like appeared in its fashion. It shares in spatiotemporal eclecticism, pluralistic characteristics and the like found in the post-modern culture. Third, the deconstructive style gets rid of the distinction between the external space and the private space by translating underwears into outer garments. It destroys clothing by tearing or perforating clothing whereby it represents the poor image. Coupled with women‘s psychology of exposure and the new generation’s way of thinking indifferent to others‘ eyes, this fashion of deconstruction occupies the great current of fashion. Deconstructive fashion gets away with the rule of ‘having to wear clothing to suit TPO(Time, Place and Occasion), the traditional norm of wearing clothing.

• Journal of the Korean Home Economics Association
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• v.51 no.2
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• pp.147-159
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• 2013

This study aims at developing and producing the creative design of a lingerie look after reviewing the aesthetic value about lingerie look featured in John Galliano's works. As for the research method, the selection process from the works was followed together with literature review for empirical analysis over lingerie looks, where 2,764 pieces in total were reviewed from Galliano's Pret-a-Porter collections covering from 2001S/S until 2010F/W and Christian Dior's Haute Couture and Pret-a-Porter collections that he is in charge of as head designer and 291 pieces were finally singled out that show the lingerie look image well. Then, the formative expression was examined about those looks and the characteristics were induced from them. Formativeness expressed in Galliano's lingerie look, in term of lingerie style, was categorized as erotic, retro, and deconstructive. The glittering and smooth material like silk and satin, and the visible material like lace and chiffon were mainly used for material rather than foreign material. By doing so, the romantic and erotic image was highlighted. In the production method, it was grouped into transposition of wear, direct and indirect exposition, and deconstructive way. These aesthetic characteristics introduced by formative expression appeared in the form of eroticism, play, and deconstructiveness.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.85-93
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• 2009

In this study, the ex-formal expressions observed in space form of Korean modern architecture are distributed for characteristic analysis based on the period and type. The result of the study is certified by the work analysis and the result is as follows. Initially, due to the limited materials and influence of western brutalism, the works developed during 1960~70 tend to be plastic and contain expressionism. Around 1980's, the works tend to show forms of amusement and popularity. In 1990's the works show significance in deconstructive expression. From after 2000, ecological concept of architecture was introduced and organic expression started increasing Secondly, the ex-formal expressions are found to be in four different types. The organic expression is shown regardless of the period. In modern days, not only the physical properties of materials, but also the ecological concept is combined with the organic expression and is in increase. The plural expression started appearing after the 1980's and the sculptural diversity is enhancing with the addition of decorative factors or modification of geometrical form. The ex-construction and deconstructive expression show significance in some characteristics such as folding, inclination, and geometrical explosion. The free form and nonlinear expression tend to increase dramatically based on the development of structure technology as well as execution and introduce of the digital design technique.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.85-97
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• 1999

Contemporary hairstyle is too various and individual to be explained by an objective theory and an asthetic appraisal. Consequently, this study is to understand the various expression of contemporary hairstyle on the basis of J. Derrida\`s deconstruction theory. The results of this study are following as : First, it breaks up binary metaphysic and pursues disharmonous beauty because of intertextuality. Second, it breaks up logocentrism metaphysic and pursues neglected beauty because of decentring. Finally, it breaks up present metaphysic and puruses accidental beauty because of undecidability.