• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.230-231
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• 2002

• Archives of design research
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• v.14 no.2
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• pp.225-234
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• 2001

Technically, the connotation of Typography is more than embodiments which are associated with records, keeping and expressions in languages. Therefore, it reflects a variety of social aspects based on cultures. The tendencies of modem Typography that have been confusing originate from the reaction caused by, what's called, cynical Rationalism - as a kind of characteristic. Nowadays, modem Typographic is required that it experience a new turning point with challenge and innovation. In association with the fact, it tends to be more local, compromised, dialectal, multi-cultural and anti-aesthetic. Moreover, there are multilateral tendencies concerned with generations and wealth & poverty. Consequently, the situation of modem Typographic which was regarded as an immovable role is now needed to change. The vernacular trends of Typographic changing with newer aspects is not always optimistic - it may be failure. However, at least, the experiments of it have expanded the range of modem Typographic. Therefore, the ultimate goal will be to obtain, what's called, potential data some of which are unknown to us.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• 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 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.

• Archives of design research
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• v.11
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• pp.142-155
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• 1995

A matter of primary concern about all the design is concentrated on how to create more valuable things to allow people to live an affluent life. However, it is very difficult to achieve the goal because every design work is changed in accordance with given situations. Situations are changeable, so is design. There is no progress without change, but change is not necessarily progress. It is highly desirable that their changes be beneficial to mankind. Our main problem is to be able to discrimination between which should be discarded and that which should be kept, built and improved Viewed at this aspect, it is significant to study the relation between globalism and cultural identity of design, because every design has been constantly influenced by global trends and local characteristics. The paper is composed of four parts Introduction, Characteristic of global design, Cultural identity of design and Conclusion In Introduction, the purpose and background of the study are presented. In Chapter1. social back ground, multi-kinds smallproduction and new problems and searched. In Chapter2, vernacular design, transmission and propagation and tradition and innovation are considered. In Conclusion, some suggestive words on the subject are mentioned.

• 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 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.