• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.68-76
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• 2006

Frei Otto, who is called to be the father of the ecological architecture, has shaped a peculiar architectural form style. In distance from the formalistic persistence to the modernist form canon and the postmodern tendencies to the self-representation of architects, Frei Otto has taken a more fundamentalistic position. Through the interdisciplinary researches on the self-organizing processes in the nature and the technical world Frei Otto could reason with architects, engineers, biologists, historians and philosophers the principle and structure of the natural construction that is applicable to the morphological research and the architectural construction research. In the middle of his architectural and scientific works is the idea of 'the natural construction' situated, and the basic principle and instrument of this 'Die Prinzip der Selbstbildung, The Principle of Self-making'. Founding himself on this principle, Frei Otto seeks after the new architectural form that is light, natural, flexible and variable by reasoning the typical formation process which refers to the common denominator of the self-making processes in the nature, the technique and the architecture. Despite his architecture is to be called to the anonymous, his architectural vision is headed toward the rationalistic form in accord with the natural laws. This study is purposed to elucidate the constellation to which his scientific attempts belong and the theoretical and methodological foundations of his architecture of 'the natural construction'.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Archives of design research
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• v.13 no.3
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• pp.271-280
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• 2000

This is the deconstruction of functionism and means the complex phenomenon of disharmony such as the reputation of purity, search for history, irony and so on. The perceptional system of post modernist and deconstructionist philosopy, that allow us to have the critical angle of view such as the deconstruction of the existing foundation and the absence of the meaning of the reasoncentered thinking of the west, is shown to be grafted into design, fashion and so forth. These elements are taking root as the style of the end of the 20th century. The deconstructional fashion revolting against the existing regime has been reconstructed and created a innovative aesthetic sense by going so far as to address the way that doffing is formed, the way to handle materials and physiological and psychological elements. The deconstructional fashion depicted on new interpretation of the body proportion with planeness and specificity while ignoring three-dimensionality , structuristic rationality

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.72-81
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• 2015

The change towards meeting diverse customer needs has started to affect the hotel industry as well. Design hotels emerged as customers demanded differentiated lodging experiences they could not fulfill at franchise hotels which were uniform in style everywhere in the world. Design hotels are meant to provide a new concept of space through unique design sensibility and work of designers, which highlighted the role of interior design. This research analyzes the characteristics of indoor space expressed in design hotel common spaces by the French designer Andree Putman, also known as the founder of boutique hotels and the concept of design hotels. As the original founder of the concept of design hotels, Putman's scope of work stretches wide, from interior design to product design. She is also one of the few French designers with a modernist inclination. The research runs a review on previous literature, characteristics of design hotels according to design tendency, and the association with characteristics of indoor space designed by Andree Putman, followed by case analyses extracted by analyses on design characteristics of common spaces she has designed. The analysis reveals that she creates comfortable yet elegant space, using contrast and fusion arising from negotiation of design styles to interpret space, the sense of spatial balance and understated expression of order through symmetrical structures, diverse creation of space through geometric structuring, highlighting indoor space by utilizing lights as objects, and the heterogeneous harmony achieved by contrasting juxtaposition, and understated formativeness. It is expected that study results would be utilized as methods of new designs of interior space in design hotels.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.117-134
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• 2010

The multilateral attempt for present applications of art school of thought and expression is leading modern fashion as a chapter of various artistic expression. In fashion, historic art thinking which predominated the period are source of optional inspiration not simply being generated, culminated and disappear but layout principles which can reemerge as periodical needs. In other words, the past styles are the source of inspiration of new trend of the present time and will serve as the text that give birth to yet another trend. In this study, I conducted the research on the layout principles of Modernism Architecture in aspects of pure visibility and the layout characteristics. And I analyzed cases of modern fashion which were appling architectural layout principles in the view point of formal construction dimension. As the result, the layout principles of Modernism Architecture have the characteristics of diagram linearity, geometric planarity and exclusive closing. And I was applying the architectural layout principles of Modernism to fashion. The layout principles of Modernism Architecture have the tendency of lacking history types, abstract plane partition and reductionism purity in fashion. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Lingua Humanitatis
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• v.1 no.2
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• pp.3-20
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• 2001

The concept of "modernism" has always posed problems in definition from the beginnings of "early-modernism" to our age of post-modernism and multi-culturalism. And yet, the concept has been consistently aligned with the search for new paradigms of thinking about "modernity" as the age experiences it. In this sense, this study tries to explain the meaning of the term "modern," why it still matters in the study of literature, and how to apply it to the examination of Kim Soo-Young′s poems. Kim is one of the leading poets who understood the importance of modernism in the development of Korean modern poetry. But, despite his dedication to the western literary style and modernism, Kim also attempted the renewal of traditional Confucian thought in his poems. The result of such efforts can be seen in poems such as "Difficulties of Confucius ′Everyday Life," in which Kim tries to juxtapose the ancient life of Confucius with life in a much-westernized modern Korea. Another poem "Grass" shows his eagerness to transform traditional eastern aesthetics into a new mode of thinking that encompasses both the influence of the west and changes in 20th-century Korea. Through the study of Kim′s poems in relation to the critical reception of modernism in Korea, we can conclude the following: that Kim led the modernist movement in Korea; that modernism still matters in post-modern Korean literature; and that, because Kin tried to bring together the ideas of western modernism and traditional Confucianism, his poetry not only spoke to his own time but speaks also to our multi-cultural age.

• Journal of Science of Art and Design
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• v.4
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• pp.26-66
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• 2002

Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.