• 디자인학연구
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• 제18권2호
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• pp.335-344
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• 2005

본 논문은 모던디자인 역사 서술의 구체적인 내용과 한계를 밝히는데 그 목적이 있다. 모던디자인 역사 서술의 전통은 다양한 개별적 디자인 현상들을 억압하거나 왜곡시키면서 지나친 일반화를 추구하였다. 뿐만 아니라 헤게모니를 장악한 제한된 디자인들을 단선적 흐름으로 서술하였으며, 일부 영웅적 인물 중심의 역사를 보편적인 것으로 만들었다. 이러한 전통이 일반화되면서 우리는 '디자인'이라는 자극에 '모던디자인'을 떠올리게 되었고 ‘모던디자인’이라는 자극에 일부 제국주의 국가의 영웅들과 그들의 무용담을 떠올려야 했다. 이러한 맥락에서 논문은 역사를 바라보는 주체적인 시각의 필요성과 그것을 바탕으로 한 다양한 디자인 역사들의 존재가능성과 필요성을 환기시키고 있다

• 미술이론과 현장
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• 제8호
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.98-108
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• 2011

As people abroad have been much interested in the usage of modern architecture from the early days, many researches about various methods of using them have been progressed. In Korea, with the need to protect the modern architecture through active usage of them in the dimension of protecting the disappearing history, at present, many modern architectures were renovated and used. This research is to find out the sense of direction about the changes of design of the renovated modern architectures in Korea by analyzing the design changes after the renovations in Korea and abroad. Under the limitation of the modern architecture renovation case in Korea, Japan and China, the changes of design after the modern architecture renovation in Korea and aborad were analyzed by the analysis of the ways of remodelling for each case according to the case analyzing frame. Based on the reasons of renovations which had purpose of preserving social history with many other various reasons in common in both cases of Korean modern architecture remodelling and abroad, the common direction of design is to meet new with old to preserve the special image though they did it in different ways. However, different from the case of Japan and China which are coexisting present and past in space, Korean case focused too much on outside, which resulted in only outside designs. In the case of Korea, the past should have mutual understanding to have the firm space image by forming unique interior space culture through the architectural grafting the present in the past not only in the outside space but also in the indoor space. In another words, for the various changes of design in Korean modern architecture renovations, a systematic research should be done about the interior spaces of present architecture and modern architecture.

• 디자인학연구
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• 제11권
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• pp.1-9
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• 1995

스칸디나비아의 디자인은 디자인 역사에서 독특한 위치를 차지하고 있다. 특히 스웨덴은 스칸디나비아 국가들 중 가장 먼저 그들만의 고유한 20세기 디자인운동과 양식을 발전시킨 나라였다. '스웨디쉬 모던(Swedigh Modern)', '스웨디쉬 그레이스(Swedish Grace)'등의 개념으로 특징지어지는 스웨덴의 디자인은 20세기 초 독립에서 시작된 기능주의 운동을 받아들여 보다 우아하고 따뜻한 인간미 넘치는 디자인 양식을 만들어 내었다. 휴머니즘과 함께 단순성, 아름다움, 민주주의 적 이상이 조화된 이 양식은 국제적으로도 큰 성공을 거두어 유럽뿐 아니라 미국의 디자인 발전에도 큰 영향을 미쳤다. 본 연구에서는 스웨덴 디자인이 발전되어온 과정과 스웨덴의 디자인 교육, 기업체에서의 디자인 등을 통해 스웨덴 디자인의 특성이 과연 무엇이고 그것은 또 어디에서 비롯되는 것인지에 대해 살펴보고자 한다.

• 디자인학연구
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• 제12권4호
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• pp.139-147
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• 1999

일반적으로 근대 디자인의 역사는 19세기 중반 영국에서 시작된 것으로 이해되고 있다. 이 시기의 유럽은 프랑스 혁명과 한업혁명을 거치면서 성장한 부르주와 계층이 역사의 전면에 부상하며 과거 봉건적 전퉁사회와는 전혀 다른 근대사회를 성립해가고 있었다 새롭게 사회의 주역으로 부상한 부르주아 계층은 그들만의 고유한 새로운 미학을 확립하고자 했고 이러한 과정에서 근대 디자인이 탄생하게 되었다. 본 연구에서는 지난 150여 년간의 디자인의 역사를 근대 프로젝트로서의 디자인 혹은 모던 디자인 프로젝트라는 관점에서 파악하고자 한다. 초기 근대 디자인 이념의 형성과정에서부터 최근의 탈근대 논의에 이르기까지의 디자인 역사를 모던 디자인 프로젝트의 형성과 변질, 그리고 이에 대한 비판과 재평가라는 맥락에서 이해하고자 하는 것은 이ㅓ한 논의가 현재 진행중인 탈근대로의 급격한 전환과정을 이해하고 미래에 대한 전망을 갖게 하는데 도움이 되기 때문이다.

• 디자인학연구
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• 제18권2호
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• pp.47-58
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• 2005

본 논문은 한국 근대 디자인, 나아가 한국 근대 미술을 발굴하기 위한 프로젝트의 일환으로, 일본의 제국미술학교(1948년 무사시노 미술학교로 개칭, 1962년 무사시노미술 대학으로 승격) 및 제국미술학교에 유학했던 조선인 유학생들(1929-1945)에 대하여, 무사시노 미술대학과 공동으로 행한 연구조사와 발굴을 바탕으로, 이루어 진 논문이다. 근대 미술과 디자인의 수용과정에서 가장 많은 조선인이 유학하였던 근대 적 미술교육기간이 바로 제국미술학교이 다. 제국미술학교 도안 공예과에 유학했던 조선인 학생들의 활동과 도안 공예과 교수들과의 관계를 고찰함으로서 궁극적으로 일본 제국미술학교 교육을 통한 다자인의 학습과 수용이 조선 유학생들에게 어떠한 영 향을 주었고, 전후의 한국 디자인 교육과 어 떠 한 연관성을 가지는 지 알아보았다. 연구결과 147명의 조선인 유학생 명단과 13명의 공예도안과 유학생명단을 새로 작성하였으며, 본 논문이 자료가 취약한 우리 근대 디자인 사를 복원할 중요한 단서가 될 것이다.

• 대한건축학회논문집:계획계
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• 제35권6호
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• pp.69-80
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• 2019

This research focuses on 10 modern museums built in Europe near important cultural assets of UNESCO World Heritage level. This study aims to reveal the coexistence of European laminated history and contemporary architecture by considering various aspects of respecting the existing and maintaining their identity as modern buildings, using these cultural assets as a basic concept of planning while minimizing conflicts with the past. The four measures of respecting existing cultural heritage are arranged by showing respect by lowering oneself, sympathizing with others, preparing for harmony with modernity, and communicating by looking at. The measures that reveal the identity of modern buildings are confirmed by classifying them as modern and post-modern approaches, each with several options. Through this study, we have been able to extract useful lessons for us, as well, while the past and present coexist successfully, by taking history as a reliable guide to take a fresh leap from it, rather than as a solidified remnant of inertness.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.13-23
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• 2007

This paper has focused on comprehending the interior designs and characteristics of modern department stores in Korea by looking into the birth and changes of those built under the Japanese Forced Occupation Period. The first modem department stores including Mitsukoshi, Georgia and Hwashin Department Stores began to appear in Korea under the Japanese Colonial Rule. They considered a variety of architectural elements like construction planning, shop arrangement, path of customer movement and interior design. The interior of modem department stores aimed to pursue the so-called modernization movement, but failed to fully contain the unique characteristics of the times in that particular period. Modem department stores took on new western styles prevailed in Korea and were characterized by the eclecticism in which various architectural forms exist together. In other words, their interiors implied a sign of the times in the confusing and corrupt world then. Especially those modern department stores were designed, repaired and extended by foreign designers who were ignorant of the history of Korean architecture. What is worse, their further remodelling practices made big mistakes by considering only functional and economical aspects and giving a back seat to the architectural and historical value of existing modern department stores. Therefore, we should make more efforts to study and conserve the fundamentals of modem architectures like modem department stores in order to have better understanding of the aesthetic value of indoor space and facilitating smooth communication between past and present.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 1998년도 봄 학술대회 발표논문집 디자인 학 연구
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• pp.38-39
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• 1998

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.106-116
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• 2017

In the 1900s, the cultural crossing of East and West was realized through the acceptance and reproduction of culture. Cultural change in the Orient was the result of attempts to harmonize the West's images, which they chose in their respective countries, with their own culture. However, research on design history until now has been centered on the West, and East was regarded as a beneficiary of civilization inherited from Western's. From the point of view of Western design history as a main trend, the unique characteristics of Korean design culture are not revealed. Therefore, through this studies, we want to distinguish Korea's modern design, which has been recognized as a minority. For the study, through the wallpaper, which is one of the detailed components of the interior space in modern times, we try to analyze the socio - cultural historical factors and design characteristics influencing the formation of the interior space in modern times. Summarizing a result of research. The early modern wallpaper of England mainly uses plants as motifs. But In Korea, animal patterns and letter patterns were used. The reason why European wallpaper was mainly a plant at the time was that the structure of the motif was useful for the process of creation. However, in the case of the Korean wallpaper pattern, the theme was selected according to the meaning of the motif, and it was abstracted appropriately for the 2D design. As a result, many geometric shapes were formed. In addition, European wallpaper pattern is more complex and organic than Korean wallpaper pattern. Therefore, the boundary of the central pattern as the basic unit is unclear and the patterns are connected. The pattern development method is not a simple repetition but a combination of symmetry and repetition. In Korea, on the other hand, the boundaries of unit patterns are clear and patterns are developed by simple repetition. There are many diamond-type repeating patterns in particular.