• Korean Institute of Interior Design Journal
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• no.29
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• pp.3-10
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• 2001

In recent years when the importance of public communication is more emphasized, it has to be noticed that we are now living in the public-initiated age of rhetoric resulted from rapid development of broadcast media. Therefore, the purpose of this treatise is to examine the structural characteristics in the fusion design in order to anaylize the rhetorical expressions as symbols of communication. One of those is intertextuality that expresses metaphorically by bleding and borrowing codes and another is hypertextual space where various texts twines around each other making brand-new and diverse organizations, as the combined allegory with a number of hidden expression. The fusion design may be understood as the Intention to attract gaze to visual messages and as the rhetorical expressions based on compounding aesthetic codes by producing new cultural meanings. If fusion, a phenomenon which represents the 21st century, not a passing fad of cultural mixture, is ready to take the initiative, the design has to be groped for that creates a synergy effect.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.303-310
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• 2021

A method for developing a visual information concept that analogously compares and analyzes macroscopic data changes in a simple form is needed. The development of the visual information concept requires the selection of visualization form, selection of rhetorical effects, and selection of digital expression elements. Among them, an example of a rhetorical effect selection method for effectively delivering visual information to a user is presented. In this study, metaphorical rhetoric, which allows data comparison and analysis from a macroscopic point of view, was selected for stock price analysis by period and industry. We present a two-dimensional three-stage shape change using a dandelion with spreading cockle hair as a metaphor and a three-dimensional three-stage shape change information expression method using a coral peony flower that changes shape and color according to time as a metaphor. Using this rhetorical metaphor, it is possible to compare macroscopic trading changes and stock prices by industry.

• Archives of design research
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• v.15 no.4
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• pp.177-188
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• 2002

A thousands of chairs have designed from the Victorian era to the present. Thonet's Nol4 chair in 1859, Wright's high-back chair in 1904, Ritveld's red/blue chair in 1917, Breuer's Wassily chair in 1925, Aalto's Paimio chair in 1932, Eames's DAR chair in 1948, Piero Gatti's Sacco chair in 1969, Starck's Von Volgelsang chair in 1984, Stumpf's Aeron Chair in 1992, Little's 'Coat of arms' chair in 1994 - the list of architects who have seized the opportunity to express their theories in the design of a chair is seemingly endless. Architects such as Machintosh(1868-1928), Wright(1807-1959), Aalto(1898-1976) included chairs within their artistic schemes for interiors and buildings. But as the manufacture of chairs moved away from the domain of the craftsman towards that of the industrial process, architects were also ideally positioned, with their background knowledge of engineering, to pioneer innovative chair design within the constraints of modern manufacturing technology. Beyond matters of function and structure, the fundamental worth of chairs, past or present, lies in their communication of attitudes, ideas and values. The persuasiveness of a chair depend on the clarity of its rhetoric. Chair has become an ideal medium for designers to make their visual statements and construct their individual manifestos. In chair design there is a ping-pong game played out between absurd and useful design, and this game is one way in which the design profession explores itself.