• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.

• Journal of the Korea Furniture Society
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• v.22 no.1
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• pp.42-53
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• 2011

This article aimed at identifying the concept of 'artistic-quality' of furniture and presenting the concept of 'artistic-quality based furniture creation' as the future direction of furniture design. For this, the authors approached to the theoretical background of the concept of artistic-quality, and then examined the prospect of practical application of the concept by analyzing the tendencies in today's art furniture. In this light, 'artistic-quality' of furniture could be understood as a quality that triggers the designer's venturous spirit throughout the process of furniture creation, so that the designer keeps seeking for the novelty and innovation in his experimental design and process. The feature of the current tendencies of art furniture in terms of the expression and effect, which could explain this venturous spirit of artistic-quality based furniture creation, could be summarized as follows; first, High-touch: Furniture that exemplifies the artistic-quality by specific texture of handmade quality, second, High-feeling: Furniture that arouses the new feelings and new concepts of furniture structure & function by experiments on new abstract forms of furniture, and third, High-mentality: Furniture that leads us to the sphere of subtle aesthetic recognition and mentality with its specific poetic expression and sensibility.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.383-391
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• 2015

In recent years the industry has utilized some of the 3D printers in the manufacturing process a trend which spread also a personal desktop 3D printer priced. The 3D printer can create the 3D object by using an ink or a laser instead of the powders, and various liquid plastic material. Properties of 3D printers are liquid, solid, powder and raw materials are also classified as varied. New ideas and processes in the form of designer furniture, becoming increasingly evolved through the development of materials and technologies. Science, art and technology combine to create a new aesthetic for the complex and free binding structure is a combination of design and materials are available in craft and the structure appears not showing. 3D scanning was not simply continue to develop as the production process by a variety of tools and content transformation. Create new mathematical tables and chairs designed by the theory fit the digital age shows a coupling structure with decoration into small pieces. It has created a new craft technique in the digital age.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.104-111
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• 2014

Design is one of those elements to create an artificial environment, improving human life. It also signifies some concrete work and plan for better life in the present environment, and it is even believed to be an act of consideration for the sake of human beings. This consideration design would be included to design which deals not only with truths and values being demanded in a new era but also with various users, and it is design that attaches values to behaviors of the users, searching for new values while studying user-centered behaviors. It is regarded as a part of the consideration design in that it is able to make plans and extract design factors using affordance while it helps any users to use as considering the user-centered behaviors. Design factors of such affordance has been inherited and developed from the Bauhaus principle, and the spirit of Bauhaus is believed to have a great influence on contemporary furniture design while being a matrix of modern design. A follow-up study will look into backgrounds and cases of social design, one of those consideration design factors, while proposing directions on how to develop contemporary furniture design.

• Journal of the Korea Furniture Society
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• v.25 no.1
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• pp.1-10
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• 2014

The First bentwood chairs in the world, called "winsor chairs" were made by British craftsman in the 17th century. Since then, from the start of NO.14 using solid bentwood by 19th-century German Michael Thonet, furniture making techniques such as Bent knee, Y-leg, X-leg- were developed based on Llaminated bentwood made by Alvar Aalto of Finland in the 20th century. In the 20th century Charles Eames of the United States studied Molded plywood, using plywood to produce a variety of furniture and during the 17~20 century a variety of Bentwood were developed. Coming into the 21st century, American Matthias Pliessnig and Phil Seaton worked with past Bentwood designs, developing Bentwood further by adapting Bentwood's know-how and IT technology. Science and technology evolved and Reholz of Germany developed technology which can mold three-dimensional wood using a new matarial called 3D-veneer, In the past only plastic or metal could be moulded 3 dimensional but now beautiful wood grain patterns can be molded by utilizing this technology. Also this is comparable with the past two-dimensional molding technology. In this Sustainable Design techniauses era, Bentwood fused with IT technology has great potential as a high-tech and eco-friendly techniche.

• Journal of the Korea Furniture Society
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• v.27 no.2
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• pp.80-90
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• 2016

The idea of Sustainable, first mentioned in "Our Future (Bruntdland)" from the United Nations report released in 1987 has been highly affect design disciplines in developed countries in 21st century. It relocated industrial society and structure's attentions to nature and recourse conservation and reuse. Designed and manufactured products eventually disposed and it leads to waste of resources as well as creates environmental issues. Unfortunately, vast majority of designers starts designing without anticipation of this matter and produce more believing this leads to more sales. However shorter life of a product will create bigger increase of resource consumption and waste than, importance of re-usage and recycle will eventually increase. In modern furniture industry metal and plastics are frequently used beside wood that material has been diverse than in past. However, there are lack of plans and regulations of re-usage of those material due to difficulties of separating each different materials and collecting due to it's size. This study would like to look into recycling rate, methods and usage of three major materials (wood, metal, plastic) that is typically used in current furniture industries. Furthermore, see the potential of sustainable furniture by analyzing furniture practices made by each different recycled material from old furniture and what designers should consider to achieve feasibility of sustainable furniture.

• Journal of the Korea Furniture Society
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• v.13 no.1
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• pp.71-83
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• 2002

This study was carried out to develop colored-wood furniture using veneer, small-round log and fiberboard to protect forest resources through the study of minimalism. which advocates the environmental issue inherent to contemporary furniture in the postmodern era. Based on the historical and theoretical context of minimalism closely related to the environmental protection, this study suggested the technical way how to produce the environment-friendly furniture with the least use of valuable and natural log. Finally, the color-wooden furniture was developed based on the asceticism, simplification, and repetition of the minimalism in a trend of contemporary furniture design. By soaking a veneer, Psuedotsuga menziesii and small-round log, Pinus densiflora into a very-diluted organic dye, the environment-friendly and colored-wood furniture could be created in harmony with contemporary interior space, which has showed various colors such as yellow, blue, red, and green with a pastel tone. The spring wood of the colored softwood was deeply stained, while the summer wood was lightly done. By utilizing such valueless used woods which have been little in furniture production, it was possible to decrease the consumption of precious raw log such as zelkova, ebony, rose, maple, cherry, mahogany and so on. Thus, it became obvious to be able for contemporary furniture designers to produce beautiful furniture with dyed fiberboard and small-round logs pregnant with minimalism.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.517-532
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• 2009

This study was carried out to review the characteristics of the Swedish modern furniture design and the works of Bruno Mathsson, who is appreciated as one of the most important furniture designers in the history of modern Swedish design. First, the authors examined how the Swedish designers set the value of warm, graceful humanity, practical simplicity, and the traditional craftsmanship in their furniture design with modernist ideology. Second, by examining the range of Bruno Mathsson's works from the 1930s to the 1980s, the authors searched for how these works show the realized models of the ideals of Swedish modern furniture. In this, this article explains that Mathsson's works and the modern Swedish furniture could have been regarded and beloved as being innovative and modern for more than 50 years for their friendliness to human body by the ergonomic structure and to human feeling by the quality of natural materials and finishes. In addition, their consistent effort to adopt traditional craftsmanship into functionalist ideals of modern design shows how these furniture designs could have keep the lasting quality in the life of people in different time frames.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.47-56
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• 2012

This study particularly looked at educational philosophy and content of Design Academy Eindhoven in Holland which provides multidisciplinary design education. For it might be important data for examining the educational substance and directivity in design that help construct education system in design for a new era among the varying design paradigm. The biggest feature of DAE education system designed for students to optimize their ability with systematic education of 8 contexts with 4 approaches through innovative specialty system. Besides, their interaction helps students major in what is individual specialty. Most of all, the study on the contents of DAE's multidisciplinary education is expected to be significant data for our design education that lacks integrative perspective in the respect that students might be able to develop their identity as an individual designer in changing society beyond the mere technical and formative level of design.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.263-270
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• 2016

Range of cantilever construction that specializes in bridge and building has been extended, the process that affects the cantilever chair is the overall flow. 1926, appeared by Mart stam, cantilever chair has achieved a great development in a short period of time that has not been 100 years up to now. On the basis of age and the feature "Initial stage" - "Growth & Apotheosis stage" - "Application stage", was divided into the total three stages. And an understanding of the evolution of the cantilever chair that occupies an important part in the history of the chair design, is intended to consider the direction to go in the future.