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2003/03/12(09:39) from 210.104.102.180 | |
ÀÛ¼ºÀÚ : ÀÌ¾È (canadian-silversmith@runbox.com) | Á¶È¸¼ö : 1596 , ÁÙ¼ö : 81 |
¼÷ü 2003/03/07 |
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From the beginning of the 21st Century design books about the Industry in the West have been concerned with a movement called Organic Essentialism. Is it a stylistic movement or a design philosophy? Is it a result of reactionary or evolutionary tendencies in the West? Who is practicing it and what are there backgrounds? Once these questions have been answered then they will provide the knowledge base for the Western Model that will be compared and contrasted to the Korean Model. The Korean Model will consist of a specific historical analysis of vessel forms from the Shilla to Chosun periods that reflect the elements in Organic Essentialism. Then surveys of product designs beginning from the 1st Republic will show the influences of Western design styles during the ¡®Nation Building Era¡¯. The goal of these two approaches is to show that the elements of Organic Essentialism have always been here and that it is influencing new trends incorporated into current design practices. The analysis will attempt to prove there is are unique opportunities for Korean Designers using their own history for sources of inspiration rather than paying constant attention to International design trends. Cultural localization during economic globalization develops ¡®National Identity¡¯ into a marketable commodity reflected in the characteristics of products produced and sold by that country. My work will also be a continuation of the logic discovered and used in this essay, because I am a product of my environment and a refection of those influences that have affected me in Korea. My work is inspired from those influences and I feel that they embody an Organic Essentialism that came from Korea and not from the West. We shall see. 21¼¼±â ÃʺÎÅÍ ¼¾ç¿¡¼ ÀÌ »ê¾÷¿¡ ´ëÇÑ µðÀÚÀÎ ¼ÀûµéÀº À¯±âÀû º»ÁúÁÖÀǶó°í ºÒ¸®´Â ¿îµ¿°ú °ü·ÃµÇ¾î ¿Ô½À´Ï´Ù. ±×·¸´Ù¸é ÀÌ°ÍÀº À¯ÇüÀû ¿îµ¿Àϱî¿ä ¾Æ´Ï¸é µðÀÚÀΠöÇÐÀϱî¿ä? ¼¾ç¿¡¼ÀÇ ¹Ýµ¿ÁÖÀÇÀû °æÇâÀÇ °á°úÀϱî¿ä ¾Æ´Ï¸é ÁøÈ·ÐÀû °æÇâÀÇ °á°úÀϱî¿ä? ÀÌ ¿îµ¿À» ½ÇõÇÏ´Â ÀÚ´Â ´©±¸ÀÌ¸ç ±× ¹è°æµéÀº ¾î¶°ÇÑ °ÍÀϱî¿ä? ÀÏ´Ü ÀÌ·¯ÇÑ Áú¹®µé¿¡ ´ëÇÑ ´ë´äµéÀ» ±¸ÇÑ´Ù¸é ±× Áú¹®µéÀº Çѱ¹Àû ¸ðµ¨°ú ºñ±³ÇÏ°í ´ëÁ¶ÇÒ¸¸ÇÑ ¼¾ç ¸ðµ¨À» ÀÌÇØÇÏ´Â Áö½Ä ±â¹ÝÀÌ µÉ °ÍÀÔ´Ï´Ù. Çѱ¹Àû ¸ðµ¨Àº ½Å¶ó ½Ã´ëºÎÅÍ Á¶¼± ½Ã´ë±îÁöÀÇ ¿ë±â Çüŵ鿡 ´ëÇÑ Æ¯Á¤ÇÑ ¿ª»çÀû ºÐ¼®À¸·Î ±¸¼ºµÇ¸ç ÀÌ ¿ª»çÀû ºÐ¼®Àº À¯±âÀû º»ÁúÁÖÀÇÀÇ ¿ä¼ÒµéÀ» ¹Ý¿µÇÕ´Ï´Ù. ±×¸®°í Á¦ 1 °øȱ¹À¸·ÎºÎÅÍ ½ÃÀ۵Ǵ Á¦Ç° µðÀÚÀε鿡 ´ëÇÑ Á¶»çµé·Î¼ ¡®°Ç±¹ ½Ã±â¡¯ ÁßÀÇ ¼¾ç µðÀÚÀÎ À¯ÇüµéÀÇ ¿µÇâ·ÂµéÀ» º¸¿©ÁÙ °ÍÀÔ´Ï´Ù. ÀÌ·¯ÇÑ µÎ °¡Áö Á¢±Ù ¹æ½ÄÀÇ ¸ñÇ¥´Â À¯±âÀû º»ÁúÁÖÀÇÀÇ ¿ä¼ÒµéÀÌ ¾ðÁ¦³ª ÀÌ°÷¿¡ ÀÖ¾î ¿Ô´Ù´Â »ç½Ç°ú ±×°ÍÀÌ ÇöÀçÀÇ µðÀÚÀÎ ÇàÀ§µé¿¡ À¶ÇÕµÈ »õ·Î¿î »çÁ¶µé¿¡ ¿µÇâÀ» ¹ÌÄ¡°í ÀÖ´Ù´Â »ç½ÇÀ» º¸¿©ÁÖ±â À§ÇÑ °ÍÀÔ´Ï´Ù. ÀÌ·¯ÇÑ ºÐ¼®Àº Çѱ¹ÀÇ µðÀÚÀ̳ʵéÀÌ ±¹Á¦Àû µðÀÚÀÎ Á¶·ù¿¡ ²÷ÀÓ¾ø´Â °ü½ÉÀ» ±â¿ïÀ̱⺸´Ù´Â ¿ÀÈ÷·Á ÀڽŵéÀÇ ¿ª»ç¸¦ »ìÆì ¿µ°¨ÀÇ ¿øõÀ» ãÀ» µ¶Æ¯ÇÑ ±âȸµéÀÌ ÀÖ´Ù´Â Á¡À» Áõ¸íÇÏ·Á°í µé °ÍÀÔ´Ï´Ù. °æÁ¦Àû ¼¼°èÈ Áß¿¡ ¹®ÈÀû ±¹»êÈ´Â ¡®±¹°¡Àû Â÷º°¼º¡¯ ±× ±¹°¡°¡ »ý»êÇÏ°í ÆǸÅÇÏ´Â Á¦Ç°µéÀÇ Æ¯¼º À¸·Î ¹Ý¿µµÇ´Â ÆǸŠ»óÇ°À¸·Î °³¹ßÇÕ´Ï´Ù. Á¦ ÀÛÇ° ¶ÇÇÑ ÀÌ ³í¹®¿¡¼ ¹ß°ßÇÏ°í »ç¿ëµÈ ³í¸®ÀÇ ¿¬¼ÓÀÌ µÉ °ÍÀÔ´Ï´Ù. ±× ÀÌÀ¯´Â Á¦ ÀÚ½ÅÀÌ Á¦ ȯ°æÀÇ ¼Ò»êÀ̸ç Çѱ¹¿¡¼ Á¦°Ô ¿µÇâÀ» ¹ÌÃÆ´ø ¿µÇâµéÀÇ ¹Ý¿µÀ̱⠶§¹®ÀÔ´Ï´Ù. Á¦ ÀÛÇ°Àº ÀÌ·¯ÇÑ ¿µÇâµé·ÎºÎÅÍ ¿µ°¨À» ¹ÞÀ¸¸ç ÀÌ ¿µÇâµéÀÌ ¼¾ç¿¡¼ ¿À´Â °ÍÀÌ ¾Æ´Ñ Çѱ¹¿¡¼ ¿Â À¯±âÀû º»ÁúÁÖÀǸ¦ ±¸Ã¼ÈÇÑ´Ù°í Àú´Â »ý°¢ÇÕ´Ï´Ù. The format of my Thesis will be as follows: TITLE PAGE DECLARATION ACKNOWLEDGEMENTS ABSTRACT ABREVIATIONS AND IMAGES TABLE OF CONTENTS INTRODUCTION METHODOLOGIES & OBJECTIVES THEORETICAL CONTEXT ORGANIC ESSENTIALISM (OE) DEFINATION HISTORICAL EVOLUTION PRINCIPLE DESIGNERS PRODUCTS SUMMARY KOREAN CONTEXT OULIM SURVEY OF VESSEL FORMS FROM SHILLA TO CHOSUN ANALYSIS OF ELEMENTS ESTABLISHING OE SURVEY OF MODERN PRODUCT DESIGN WITH OE ELEMENTS ANALYSIS SUMMARY THE WORK OF IAN M. YOVDOSHUK ARTISTS STATEMENT DESIGN PHILOSOPHY IMAGES CONTEXTUALISATION CONCLUSION BIBLIOGRAPHY INDEX Á¦ ³í¹®ÀÇ Çü½ÄÀº ´ÙÀ½°ú °°½À´Ï´Ù: Ç¥Á¦Áö, ¼±¾ð, °¨»ç, ¹ßÃé, ¾à¾î¿Í ±âÈ£, ¸ñÂ÷, ¼¹®, ¹æ¹ý·Ð°ú ¸ñÀûµé, ÀÌ·ÐÀû ÀüÈÄ°ü°è, À¯±âÀû º»ÁúÁÖÀÇ : ¿ë¾î Á¤ÀÇ ¿ª»çÀû ÁøÈ ÁÖ¿ä µðÀÚÀ̳ʵé ÀÛÇ°µé ¿ä¾à Çѱ¹ °ü°è ³»¿ë : OULIM ½Å¶ó¿¡¼ Á¶¼± ½Ã´ë±îÁöÀÇ ¿ë±â Çüŵ鿡 ´ëÇÑ Á¶»ç À¯±âÀû º»ÁúÁÖÀǸ¦ ¼³Á¤ÇÏ´Â ¿ä¼Òµé¿¡ ´ëÇÑ ºÐ¼® À¯±âÀû º»ÁúÁÖÀÇ ¿ä¼ÒµéÀ» Áö´Ñ ±Ù´ë ÀÛÇ° µðÀÚÀο¡ ´ëÇÑ Á¶»ç ºÐ¼® ¿ä¾à ÀÌ¾È M. ¿äºêµµ¼ÆÀÇ ÀÛÇ° : ¿¹¼ú°¡ÀÇ Áø¼ú µðÀÚÀΠöÇÐ ¿µ»óµé ÀüÈÄ°ü°èÀÇ Á¤¸® °á·Ð Âü°í¼Àû ¸ñ·Ï »öÀÎ |