This paper investigates morphological theory as an intellectual framework for research and design. The first part of the paper will review morphological studies in the fields of urban geography, urban planning and architecture, particularly in England from the 1940s to the 1980s. While urban geographers and planners were concerned primarily with town plans, building forms and land use, architectural theoreticians were more interested in the topological relationship between urban and architectural space. The underlying premises and principles of these two approaches will be reviewed. The second part of the paper will focus on typology in Europe and North America. The reinterpretation of typology by Italian architects helped to bridge the gap between individual elements of architecture and the overall form of the city. However, typological theory became less accessible in post-war England and the United States. After 1980, the debate on typology became muted by the onset of vague notions such as functionalism, bio-technical determinism, and contextualism. This paper will propose a redefinition of morphology as a heuristic device, in contrast with the dichotomic view of urban morphology and architectural typology. Morphology will be shown to combine the geometrical and topological; the intentional and accidental; the real and abstract; and a priori and a posteriori. The last part of the paper discusses the lack of comparative theories and methods surrounding the physical form of architecture and the city by Korea commentators. Empirically rooted facility planning, non-comparative historical studies, and iconographic criticism emerged as a central preoccupation of architectural culture between the 1960s and 1980s, a time when international debate on architecture and urbanism was most intense. This paper will give consideration to the built environment as a dynamic physical entity and space as an epiphenomenon of daily urban life, such that collaboration between urban designers, architects, and landscape architects is seen as both beneficial and necessary.

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can’t overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector’s personal taste or but also by commercial circulations of these reproductions to the public. This relates to Benjamin’s argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public’s quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics’ articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

Kim, Jeong-Eun. 2004. Modern Culture in Advertisement Language. The Sociolinguistic Journal of Korea, 12(1). From January 2001 to July 2003, I conducted a study examining and categorizing advertisement language into seven different types: those representing rejection of prejudices and discriminations, family culture (emphasizing the importance of the family), aristocratic culture, 'upstart' culture, trends of sexually merchandising women, new life styles of the young generation, and Westernized culture. Both changes in and preservation of traditional culture were observed in the analysis of the seven types of advertizement language; both positive and negative points were found in the analysis. Advertisement language reflects not only the culture of the time and age but also leads, in advance, the attitude of people in that society. Therefore advertisement media and agencies should assume responsibility and play the leading role so that they could help build a more sound and healthy society.

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.