• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.92-101
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• 2004

A rational and logical sense of design often found in modernism(including minimalism) sometime deal with the criticism that such characteristics which derived from those of modernism, lack emotion31 qualities(arises from human feelings). It consequently took them to adopt traditional designs in the past, creating such conditions that constantly escapes from‘present’ one and back to the‘new’. This mode develops a trend in current interior design which decorative elements such as art work: traditional arts, folk crafts, flowers and green are much evident. Thus, using many decorative elements of the past(what was once banned since modernism), brings up the interesting point of view that needs to be discussed a new decorative trend if today's interior design. It will approach by comparing significances of past decorative expressions with present through which investigation, will show a better understanding of recent characteristics in interior designing, a.k.a, a current trend since minimalism, embracing important qualities of culture, ecology and people - against today's less-inspired, standardizing spaces.

• Journal of architectural history
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• v.18 no.6
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• pp.7-22
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• 2009

This writing is to understand some trends and its meaning of Regionalism Architecture in Jeju Island since 1950's. This thesis began with an interest in the identity crisis implicit in the simultaneous striving for modernism and the so-called regional values in Jeju Island. Regionalism is a response in architectural terms to re-establish continuity in a given place between past and present forms, and also a unique result related to particular places, cultures and climates in region. This is one way of looking at the issues of regional identity. The study began by observing the general characteristics of contemporary ideas on Regionalism in Jeju architecture. This means that tracing the history of development of Regionalism architecture in research area is not the focus of this thesis. The thesis demonstrates that Regionalism architectures in Jeju shows some trends related to the local cultural elements (or ideas) such like traditional architectural forms, natural environment, local construction-materials, etc. In summation, in the perspective of Regionalism architecture,mostofbuildingsin Jeju bring out them only as vernacular architecture as it was once produced, by the simple combination and imitation without any creative interaction of the regional culture. I stress the point in this paper that, in over the last fifty years, there have been very narrowed attempts to design the regional values in the main, and also point out that there are problems in the manner in which local architects have gone about trying to define the regional themes. So, a grate depth is required to understand the phenomenon that Jeju area is with its various nuances of traditions, art, culture, climate and light and then to reinterpret it into the modern building type with all the high sense. In addition to that, some conclusions are reached on future directions and the significance of the study.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.6
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• pp.1-10
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• 2002

The purpose of this study is to establish a model of cultural sustainability in the traditional village. Cultural sustainability is being advanced by promoting the viability of traditional arts and the unique regional features of traditional culture, such as folklore, traditional landscapes, buildings and other environments of outstanding historical value. These cultural resources were also created or occurred at specific geographic locations at certain points in time by different individuals. The content of this study was to develop a model using indicators for cultural sustainability, and to apply and evaluate the model. In older to evaluate the model, Sonwon-ri village in Yongchon, located in Kyungsangbuk-do, was selected as the case study area. The major findings are as follows: 1) Sonwon-ri village has maintained the vernacular landscape except at the entrance of village. Also, the village people have pride and have adapted to the natural environment. 2) Sonwon-ri village has a self-sustaining system and circular network within its environmental capacity. Sonwon-ri village has many historical sites and buildings such as important folk resources, cultural assets, traditional houses and pavilions. 3) The people how the theory of fens-shui which interprets the location of village in relationship to a crane mountain with the village situated as a crane head. These symbolic and cultural elements have an important role in establishing the boundary of the village. From the research it can be seen that Sonwon-ri village kept many cultural sustainability indicators in terms of active factors, physical factors and psychological factors. By analysing the participation of different scientific disciplines and identifying disciplinary categories, this study provides a basis for understanding how cultural sustainability is subjected to research in the field of landscape planning and design.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.73-82
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• 2010

The purpose of this study is to help understanding of fashion trend since 2000 years, to play a guideline's role in the development on fashion designs study. The methods of this study are the study of academic literatures as well as practical study through expert investigation and analysis of case studies about actual works. Fashion trends since 2000 years are summarized classic, sporty, elegance, ethnic, natural, romantic, vintage, futurism by expert investigation and analysis of case studies about actual works. Image of fashion trends are abstracted that Classic image is harmony, moderation, accuracy, completeness, neatness, manish from keep an archetype to eliminate additional things, Sporty image is daily, active, enjoyment by the pursuit of a movement and freedom, Elegance image is feminine, grace from the tender moderated and feminity, Ethnic image is folkway, handicraft, vernacular to keep national character, local folkways and traditional ways. Natural image is nature, peaceful, purity, pastoral to the exclusion of artificiality and revert to natural, Romantic image is sensibility, fantastic, ornament, splendid from facing ideal world getting out of the reality, Vintage image is cozy, old, disorder, faden, freedom by expressing the flow of time and the mature beauty, Futurism image is future, experimental, avant-garde, man-made from positive perspective on future.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.169-179
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• 2010

Since modernization period thru Japanese colonial era the modern architect began to play a important role for Korean housing architecture. So called 'House as an Art Work', detached houses by prominent architects, belong to a meaningful sector in Korean modern housing architecture. The harmony with tradition was always big issue for such works. This study aims to understand how paradigms for tradition were interpreted with the changes of the time. The analysis showed various tryout by architects, that concretize traditional characteristics in their work. For example, traditional lifestyle were clearly reflected in the floorplan during 30's and 40's. In the 70's building mass and formative roof design were emphasized to present traditional image. As well as it represented primitive esthetic and vernacular decoration. In addition, expressive tendency, that demonstrates korean sentiment through material and its texture, got a preference. Since latter half of 80's some traditional architectural elements were modernized and space characteristics were newly created from acculturation. Furthermore the philosophy of "Subdivision of building wings and Emptiness" follows this trend. This type made a courtyard and connected articulated building masses each other. "Sympathy with Nature" were most essential for a traditional houses in contrast with western architecture. Many architects today make various method to bring nature into interior space and to contemplate nature In the house. Such kinds of adaptation to tradition could be understood as a unique process to manifest identity of Korean modern houses.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.102-110
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• 2001

A townscape has both aspects of seeing and living. However, the main streams of townscape making have been mostly focused on the former perspective so far. Such trends are apt to lack the realities of urban living. In this view, a prerequisite to complement the existing formalistic view with this realistic one is needed in order to accomplish the holistic characteristics of a townscape. Many city governments of Korea are currently trying to improve the quality of living quarters by providing diverse kinds of open spaces such as vest-pocket parks, pedestrian-friendly streets, and supporting the residents participatory village making. In this context, this paper will review the possibilities of the realistic approaches in townscape making by examining some current cases being tried in Korea cities. In conclusion some main issues to be solved in future can be listed as the conflict between general citizen′s view and the residents′ view", the conflict between social aspects and aesthetical aspects" and the conflict between the tradition and the vernacular reality in design".

• Korean Journal of Oriental Medicine
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• v.16 no.1
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• pp.85-92
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• 2010

Objective : This article reviewed China's intent and aim of the failed attempt to register Traditional Chinese Medicine(TCM) as UNESCO's Intangible Cultural Heritage, its process and implication as a policy of 21st Traditional Chinese Medicine(TCM) promotion on the landscape of North East Asian medical geopolitcs. Methods : This article utilized mainly the discourse analysis of vernacular Chinese journals and newspaper reports. Conclusions : It is needed to design effective strategies for securing Traditional Korean Medicine(TKM)'s identity and authenticity to cope with so-called 'Chinese Medicine Domination Project'.

• Archives of design research
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• v.15 no.1
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• pp.399-406
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• 2002

There have been diverse discourses arguing that new design has been emerging in the 21 st century. However, there have been very few trials to identify systematically the characteristics_of new design paradigm and to develop new design educational program based on them. Thus, this paper aims at development of strategy of new design educational program according to the characteristics of new design paradigm. At first, design is viewed as part of 'culture'and the structure of culture is identified: 'Artifact', 'Value', and 'Basic Assumptions'. Similarly, design is found to comprise of three fundamental attributes: 'Function', 'Aesthetics','Symbolic'. These levels are shown to be in the relation of mutually recycling influences. These structural framework is used to understand the design methods and qualification of designers over the development of design paradigms: vernacular design, machine age, and information-knowledge age. The result leads the list of requirements of new educational design program: 'Human-Centered','Situation-Based','User-Participatory', and 'Intangible'. The model of strategy of new educational design program is developed and proposed.

• 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.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.150-157
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• 2009

In the 1970's the Interior Design Associations was established and the activity of youth designers who werecalled the "first generation of Korean interior designers" were created. This study is aimed to analyze characteristics and trends of commercial interior design in the 1970's. The design methods include the documentary research and the actual proof research conducted. The frames of analysis were made by the background theories about Korean interior design, and the annual case studies were analyzed and estimated according to the design types. The design types were analyzed by the geometrical simplicity research, the romantic emotional expression, the Korean identity expression, the machine technical asthetic expression and the eclectic style with western classics. In the early 1970's, the abstract, brief, and simple expression were presented most frequently by the geometrical form and the repetition of the pattern. From the mid-1970's the romantic and emotional atmosphere of the youth culture that was popular at that time were expressed as vernacular design by the rough finishing of the natural materials such as plaster, brick, and wood floorings etc. The space such as a Korean food restaurant relates to the Korean traditional culture aims to be different through the expression by the Korean traditional patterns, furniture, and materials. In the late 1970's the metals and glass were used for the expression of the machine aesthetic form but was not popular because of the rare application. The type that revived the past western traditional form was presented by using the arch, dome, and the curved and luxurious moldings.