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이재국(Jae-Guke Lee),김동하(Dong-Ha Kim) 한국콘텐츠학회 2011 한국콘텐츠학회논문지 Vol.11 No.1
디자인을 수행하는데 있어서 디자인의 형태, 기능, 양식에 관한 폭 넓은 이해는 매우 중요하다. 왜냐하면 형태와 기능을 배제한 디자인은 존재할 수 없고 또한 모든 디자인은 서로 다른 양식에 의해 구체화되기 때문이다. 이러한 관점에서 본 논문은 디자인의 형태, 기능, 양식과 그 관계에 대하여 고찰하였다. 우선 1-서론에서는 연구논제의 배경을 설명하고 목적과 필요성에 대한 문제를 제기하였다. 이를 토대로 2-디자인 형태에서는 원초적 형태, 가공적 형태, 규범적 형태, 표현적 형태에 대하여 살펴보았고, 3-디자인 기능에서는 본래적 기능, 전승적 기능, 절대적 기능, 상대적 기능에 대하여 살펴보았으며, 4-디자인 양식에서는 생존 양식, 민속양식, 단순양식, 복합양식에 대하여 살펴보았다. 끝으로 5-결론에서는 형태, 기능, 양식에 대한 접근방법을 피력하고 그 관계를 정립하였다. The wide range of understanding on form, function and style are very inportant in design practice. Because any design can't be existed without form and function and, also, every design can be embodied by the style. From this point of view, the new interpretation and their relations on form, function and style are studied in this paper. First of all, 1-In Introduction, a few issues are suggested to the purpose and requirement with explaining the background of the paper. 2-Design Form; original form, hand-made form, standard form and expressive form are researched. 3-Design Function; original function. traditional function, absolute function and relative function are studied. 4-Design Style; survival style, folk style, simple style and fusion style are searched. Finaly, 5-In Conclusion, the approach method is expressed on form, function and style, and their relations are discussed.
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이성호 ( Sung Ho Lee ),이재국 ( Jae Guke Lee ) 한국기초조형학회 2012 기초조형학연구 Vol.13 No.2
본 연구의 목적은 메를로 퐁티의 지각에 근거하여 움직임의 미적 가치 체계와 개념을 해석, 규정하는 것이다. 이를 위한 미적 태도는 삶-제품-몸 사이의 상호 주체적이며 의존적 인 관계, 작용과 미적 표현 형식으로서 움직임의 행(行)이다. 미적 가치 체계란 즐거움을 규정하는 지시, 기준, 판단, 평가, 서열 등의 구조, 원리를 의미한다. 이는 움직임의 미적 대상으로서 존재론적 성질과 미적 지각으로서 인식론적 방식을 실천적 차원에서 포괄하는 미적 표현 체계에 근거한다. 움직임의 행의 계기, 동기는 감각적 즐거움에 대한 몸의 미적 욕구, 욕망이다. 이는 지향성으로서 움직임이 발생하는 기준이며, 일단 지향적 움직임이 발생했다면 무조건 즐거운, 좋은 것으로 판단, 평가된 것이다. 미적 즐거움은 이의 동기, 목표이며, 미적 의미는 그 내용이다. 미적 가치는 이러한 움직임이 즐거운 것으로 행하여지고, 져야만 하는 판단, 평가와 당위의 기준이다. 표현성은 움직임의 행 그 자체의 형식으로 다른 모든 미적 가치들에 선위하는 최고 가치이다. 감각운동성, 자발성, 참여성, 개인성, 통합성, 시, 공간성, 상태성, 효율성, 물질성, 공감각성은 최고 가치로서 표현성의 체계를 구성하는 하위의 가치이다. 이는 움직임의 실천적인 근거, 미와 행위 그리고 제품디자인과 사회, 문화적 현상 사이의 연관성에 대한 설명, 이해를 제공한다. Based on the perception of Maurice Merleau Ponty, This study interprets, defines The Aesthetic Value System and Concept of Moving. The Aesthetic Attitude for this is an Acting of the moving as relations, actions and a form of the aesthetic expression which is inter -dependent and independent on among Living-Product-Mom. The Aesthetic Value System means a structure, principle of an indication, basis, estimation, valuation, grade etc to define The Aesthetic Pleasure. This is based on the aesthetic expression system in a practical dimension which includes an ontological attribute as an aesthetic object and epistemological form as an aesthetic perception of the moving. A start, motivation on the acting of the moving are an aesthetic want, desire of Mom for a sensual pleasure. This is a basis which the moving as an intentionality comes from and Once the intentional moving comes into existence, It is estimated, valuated as the unconditionally good, pleasant. The aesthetic pleasure is a motivation as well as goal and The aesthetic meaning is a contents of this. The Aesthetic Value is the basis of the estimation, valuation and property that the moving like this is, must be acted as the good, pleasant. The Aesthetic Expression is the form of the acting of the moving itself and the highest value having preference to other aesthetic values. A Sensual Movement, Spontaneity, Participation, Individuality, Synthesis, Time-Space, Condition, Efficiency, Materiality, Synaesthesis are subordinate values to form this aesthetic expression system. This offers an explanation, understanding on a practical base of the moving and relations between a beauty and acting, product design and social, cultural phenomenon.
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이재국 淸州大學敎 學術硏究所 2005 淸大學術論集 Vol.6 No.-
The wide range of understanding to the culture is very important in design practice, because most of all design can't be avoided from influence of different culture. Viewpoint of this, design culture in pre-industrial society is studied in this paper. First of all, a few issues are suggested to the purpose and requirement of the paper in introduction. On the basis of this, harmony with design and nature, dogu for suvival, self-sufficiency, vernacular design, survival style and hand-made by mono-item are searched in the main subject. Finally, in conclusion, the studied contents are summarized and to suggest a couple of subjects which are should be studied in future.
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이재국 淸州大學校 1993 淸藝論叢 Vol.7 No.-
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. Moreover, today's design is chiefly depended upon new paradigm which has been caused by various social changes. This fact plays an important role to presuppose future design with the anxity and hope in a uncertain coming age. However, the main purpose of design can't be changed in any conditions. Because the basic idea of design value roots in the humanism, though the results of design art difficult from each other in accordance with various elements, in other words, the design value depends chiefly on many kinds of different 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 discard and that which should be kept, built, and improved. Viewed at this aspect, it is significant to study the relation between globalism and localism of design, because every design has been constantly influnced by global trends and local characteristics. The paper is composed of four parts : Introduction, Trend of global design, characteristic of local design, and conclusion. In Introduction, the purpose and background of the study are presented. In chapter Ⅱ, trend of global design is searched from the viewpoint of periodical situation, change of style, and philosophy of good design. In chapterⅢ, characteristic of local design is considered from the aspect of origin of problem, level of technology, and various life style. In conclusion, some suggestive words on the subject are mentioned.
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