• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.583-597
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• 2018

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world's four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: "$Diff{\acute{e}}reance$", "Intertextuality", "Intermeaning of Meaning", "Dis De Phenomenon". The results of the study were as follows: first, "$Diff{\acute{e}}reance$" refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, "Intertextuality" indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, "Intermeaning of Meaning" is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the "Dis De Phenomenon". In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

• Archives of design research
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• v.13 no.2
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• pp.111-121
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• 2000

Jacques Derrida took off the self-contradiction of structuralism and built up a theory so called "Deconstruct". By issuing a series of papers which strongly criticized the existing western philosophy, he drew into 'strangers' alienated and deconstructed the methodology of structuralism by getting out of the antagonistic thought attaching great importance to Logos. Discomposition is realized by exposing the ex-structural elements existed inside of structuralism, and is an open philosophy recognizing the dignity and freedom of an individual than the general structure in the methodology of structuralism. Discomposition is a theory for criticizing the conservative thought frame traditional western philosophy, and deconstruct as a method of criticism persists a new epistemology by questioning to all texts including a text of tradition and deconstructing these texts. The contemporary fashion in 1990's shows the discompositive appearances with the different form. textile print and color. By the analysis according to the deconstruct process, the characters of discompositive fashion are undecidability decentring, disorder, and dislocation. Many designers like Martin Margiella, Alexander Mcqueen, and Ann Demeulemeester express these characters on their fashion. The result of this process, the characters of discompositive design can be classified matamorphosis, harmony of the disharmony and coexistence of the ambivalence.bivalence.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.93-104
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• 2019

This study set out to analyze the architectural trends in Bell's works and spaces by applying the Gaze theory of Jacques Lacan to his minimalism works, concept changes in their changing process, and the development of exhibition spaces related to him. The findings were as follows: first, his early glass cube works sought after the reproduction of the Real Order through the repeating eyes of viewers and objects by using exhibition lighting; second, his works in the Standing Wall category pursued the reproduction of the Real Order through the repeating eyes of many different viewers around objects; third, his Nesting Boxes tried to reproduce the Real Order of a higher competition level in the perception aspects, making the repetitive elements of Standing Walls converge and including even external environmental elements; fourth, there is no decisive gaze sought after by Judd or the Key Signifiant as the core of Lacan's philosophy in Bell's formative works; and finally, Bell's works pursue the completion of Simulacrum through the infinite repetition of Derrida's Deconstruction Philosophy through the infinite visual repetition sought after by Gehry and Moss in the LA School of Architects who shared the same area and period with him.

• Journal of Physiology & Pathology in Korean Medicine
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• v.29 no.2
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• pp.127-132
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• 2015

In order to grasp the clear concepts and variables to treat Shanghan diseases which has complex meaning by each medical literature, several concepts and analytic method of structuralism from early to late stage encompassing Saussure and Derrida were used. Main concepts are langue and parole, signifiant and signifie, syntagme and paradigme, denotation and connotation, synchronie and diachronie, identity of structure and differance etc. and methods are substituting these concepts to historical Shanghan theories from Zhongjing to Ming-Qing dynasty and comparisons of synchronie about their era. Essential qualities of Shanghan diseases are pathologic phenomena under the order of unification of nature and man formed through concrescence between individual human body and geo-climatico-socio-cultural environmental conditions, neither injuries by cold pathogen nor five types of exopathogenic febrile diseases. The former environmental elements can be inferred from general traits of desires and public pathological aspects of social members, and the latter personal factors from corresponding features to those pathogenic variables. In addition, the concepts of Shanghan disease are added successively up to now via Jin-Yuan's four great masters and Wenbing masters, and thus the new concepts of denotation became another connotation obtaining new signifiant. In this way, for the treatment of Shanghan diseases, new theories should be made for ranging prescription over the wenbing field; reflecting not only climatical variables but also each patient's physio-pathological features and sociocultural variables. Thereby an appropriate and reasonable therapeutical systems can be designed and can guide research direction hereafter.

• Journal of the Korean housing association
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• v.25 no.6
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• pp.101-109
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• 2014

It was early in the $20^{th}$ century when the space was begun to say through the mutual circumstances of form and contents. Adrian Forty explained that the characteristics of space can be divided into three steps by the period: a space of enclosure, a space as continuum and a space as an extension of the body. And there is common condition that all three spaces are accompanied by the form. In the new thinking of architectural form in terms of text in modern society, architecture becomes to more complex to understanding. Saying that there is nothing outside text (Il n'y a rien en dehors du text.) in the world, Jacques Derrida insisted the world to be texted and not to be special centrality, where can be existed by difference and delay its meaning. Text is the structural meaning (sign), not a metaphorical one (symbol). Without the symbol, the architecture can be recognized as text with signing to the form. For that, there is a question how can be explained the space in terms of text extracting the meaning and the symbol. Absolutely not intended by Mies van der Rohe, but in his works of houses and pavilion, its characteristics and traces of text can be seen. If it is possible to analyse his works in the textual view, space of Mies will be found in the same direction of text. And it will be an important opportunity to re-evaluate the space of Mies works standing in the heart of Modern Architecture.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• Archives of design research
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• v.18 no.2 s.60
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• pp.101-110
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• 2005

Simulacre is one of the major topics in the Western philosophy since Plato. Since the 20th century, the Western philosophy is based on rationalism toward 'absolute truth' founded on Platonic Ideas. The concept of Simulacre is ignored and rejected until the modern days. However, Simulacre is gaining its attention at this time of image. and the time of Simulacre. The concept of postmodern Simulacre started from Walter Benjamin is developed by Gnther Anders, Jacques Derrida, Gilles Deleuze, and Jean Baudrillard. This study, based on the Jean Baudrillard's concept of Simulacre, examines today's Simulacre phenomena and analyzes the cinematic works of Oshii Mamoru who displays the concept of Simulacre in his films. Analyzing and evaluating his recent visual works based on Simulacre theory with such superficial methods as advanced special visual effects is a mistake that demeans Simulation? (Matrix). Today, Simulacre phenomena are scattered all over our life. The search of its substance and the analysis of his artworks will be a foundation that makes a new alternative suggestion.

• Journal of Science of Art and Design
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• v.2
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.