• Korean Institute of Interior Design Journal
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• no.22
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• pp.53-60
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• 2000

The subject of 'Emotional Design' is appeared recently as one of the important issues in design field. 'Emotion', which has been underestimated since Kant and should be reevaluated from now on, is one of the basic two elements with reason which constitutes human nature. The purpose of this study is to research emotional design method appeared in the works of Steven Holl who is considered one of the influencing architects because of his unique methodology in developing the emotional design. The results of this study are as follows; 1) Emotional aspects were implied in his concepts by the way of emphasis on phenomenology in dealing with question of perception. 2) Emotional aspects were interwoven in his form and space as related to his concept. 3) Emotional aspects were shown in his way of developing his ideas with water coloring, in deriving his concept from other genre(especially from literature) and in the articulation of details. As a result, his unique way of implying emotional aspects which is coming from in-depth research of human nature as well as his own instinct were all interwoven in concept, form, and space together as a total way of thinking.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• Journal of the Korean Society of Costume
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• v.50
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• Journal of architectural history
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• v.17 no.1
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• pp.7-28
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• 2008

Colin Rowe was an important historian, theorist and critic in Modern architecture. His significance in Modern architectural history lies in not only historiography which has changed our view of Modernism but deep theoretical involvement in practice. This study is a critical review and analysis on his formalist approach in Architecture. With a view that his position of formalist has indispensible relationship with liberalism from K. Popper's critical rationalism, this study try to show how his philosophical background has an influence upon his way of seeing architecture, history, form, urbanism, and meaning, etc. And this study also try to explain why the principle of architecture as an autonomous discipline which is the main point of view in Rowe's criticism has been so successful and influential. This study also explain what is the possibility and limitation of Rowe's formalist approach and way of reading buildings. His intelligent way of formal analysis can give us new understandings of how the form generates and the process of design goes on. Furthermore it guide us a new horizon of architecture as a language game. Since his early writings showed both side of formalist approach in architecture and it didn't changed a lot. We can understand his 'Collage City' was a his final answer to his formalist way of making architecture and urbanism. we can estemate it as a utopia without utopianism and an ideology without ideological color.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.

• Journal of English Language & Literature
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• v.54 no.2
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• pp.235-261
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• 2008

Countee Cullen has never been fully understood as a poet or as a man, for there existed certain ambiguities concerning his earlier life including family background. But a short but enormously important biography written by Shirley Washington, his niece, a daughter of his youngest sister, titled Countee Cullen's Secret Revealed by Miracle Book: A Biography of His Childhood in New Orleans, has at last come to shed some lights on his childhood which has never been disclosed by Cullen himself or anyone else. Now we can safely say that Countee Cullen was a combination of two personalities, James S. Carter, Jr. and Countee Cullen, In other words, he was a good example of a 'dichotomous personality.' Such disclosure of two conflicting personalities gives us a rare chance to re-examine his literary works. We can now put in perspective why in his first collection of poems Color Countee Cullen was so ironic, dark, cynic, and pessimistic about the life and the world. Also, we can understand why Cullen's response to the jazz was so complex and contradictory and in what ways he used artistic technique to conceal his own feelings. Thanks to Washington's biography, we are now able to locate the real cause of his failure to mature as a poet and of his failure to materialize what was promised in the beginning of his literary career.

• English Language & Literature Teaching
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• v.9 no.spc
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• pp.167-184
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• 2003

This paper is to analyze how Walt Whitman developed the theme and structure of Leaves of Grass with his ideal of democratic vistas. Whitman established his identity as an inspired poet, having faith in the divinity of man based on transcendental belief. After being awakened to the transcendental truth, he practiced his own common world view--his democratic vistas. Whitman searched for the unity with nature and identified his self with "common man and his nation." The poetry expresses "cosmological and national ideology" dedicated to the creation of an ideal nation united in eternal freedom and peace. By portraying common cosmic and national theme in terms of his individual personality, he brought various paradoxical and controversial ideas into one thing, namely "democracy", fusing diversity into unity. As in the symbol of the grass, there is a unity in variety reflected by democracy in a cosmological and political compound. With the form of free verse, he could express his liberal unrestrained and mystical thoughts of democracy. This new form has been associated with the poet's strong consciousness of the need for modernization in his country. He willingly assumed "the role of prophet and public voice for American democrat" with the rolling catalogues and I-persona which formed a sense of the common man and common things of America. Whitman pioneered a democrat literature with simple and dynamic tone and style. He successively pursued the democratic vistas in his Leaves of Grass.

• Journal of architectural history
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• v.10 no.2 s.26
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• pp.73-84
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• 2001

The main purpose of this paper is to show that the new paradigm of a period can be constructed by the reinterpretation of the historical precedents or the dialectical mediation between the old and new. We can tell this process the creative dialogue between the past and present. The continuity and rupture, the renovation and succession of the tradition can be understand by this interpretive insight that opens the new horizon in architecture. In oder to prove this preconception this paper analyses the ideas and design principles of Le Corbusier. By showing how his main ideas and principles are formulated we can understand his unique position as a modernist and characteristics of his architecture. It is also the another purpose of this paper. This paper first looks into various aspects of his architecture and his personal background, then Investigates his unique approach to historical precedents. By the imaginative eye and comparison with inspiration he connected contemporary situation to the tradition and was able to deduce a new paradigm in architecture. His way of making relationship with the past was a priori, dialectical, and fundamentalistic. He always searched for universal norm, eternal rules, and timeless principles which are also modern and new. This both side shows well his characteristics and his architecture. Eventually he could invent a Modern language of architecture by the several ways of dialogue between the modem and the classical, new technology and old convention. We can say that his way of dialogue is a kind of reinterpretation of the historical precedents which enables open the future of architecture.

• Journal of the Korean Home Economics Association
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• v.18 no.1
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• pp.83-95
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• 1980

The purpose of this study is to investigate the reasons of Object Attachment Occurrence in infant and the meanings of it in his early development. For this purpose, the following hypotheses were supposed. 1. Infant's object Attachment will be a substitutional for mother attachment when he has opportunities to his mother during his first years. 2. Infant's Object Attachment will not impede the infant's normal development. In order to test this hypotheses 28 mothers whose infants show or have shown this phenomenon and 28 mothers whose infants show or have shown this phenomenon and 28 mothers whose infants do not show this one were interviewed about their child rearing practice and attitude. They were selected by the random sampling method from 310 household wives living at a delux Apt. in Seoul. The results obtained in this study are as follow ; 1. The less opportunities infant has for 1) his mother's breast feeding 2) having physical contact with his mother 3) spending time with his mother 4) receiving prompt response from his mother to his crying, the more he is apt to show this phenomenon. And infant whose first main attachment figure is not his mother also shows the same apt. 2. There was no difference between two groups in intelligence and personality. So it can be concluded that infant's Object Attachment is a substitutional phenomenon for mother attachment in the mother during his first years, and it does not impede infant's normal development.

• English Language & Literature Teaching
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• v.7 no.2
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• pp.167-185
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• 2002

The purpose of this article is to examine the relationship between sin and grace represented in The Power and the Glory. This work is composed of two thriller patterns of the pursuer and the pursed. The first pursuit is that the whisky priest, the representative of religious order is pursued by the lieutenant, the representative of secular order. And the second pursuit is that the whisky priest is trying to escape from God. In the course of his flight from God the whisky priest discovers his sinful nature and this self-recognition helps him restore his proper relationship with God. When he was a young priest he had religious piety, but he didn't feel true love for others. Ironically, after he is corrupted he finds his sinful nature and regrets his wrong behavior. He then comes to understand God's will and his responsibility to have love for the miserable human beings. The whisky priest is willing to accept his destiny as a martyr, after having repented his sins to God. Though the lieutenant captures the whisky priest and executes him, he doesn't feel triumph or hope but feels empty. The Power and the Glory shows us the irony that the lieutenant's power is a symbol of his weakness, while the priest's weakness is a symbol of his power.