• 대한가정학회지
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• 제20권1호
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• pp.79-85
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• 1982

The objective of this study is to apply the modular furniture system, which has been developed actively in western Europe and America since 1970's, to Korean contemporary furniture having converted into western style gradually. The factors requiring the modular furniture system in today's residential environment are as follows; 1. Population increase and urbanization 2. Development of industrial technology 3. Improvement of living condition and change of life style. As these factors increase the problem of diminishing space, multiple functional modular furniture concept has become a solution. Reviewing the current scene of the western modular furniture system, it is classified into modular seating system, mopular wall system, modular commode system and modular storage system. Korean wardrobe, which is am mixed style of traditional and contemporary furniture, should change to a closet eventually because of the grand size and unpractical use of space. Since most Korean family, however, have wardrobes already, it will be necessary to have a turning period to systemized the closet space in Korean residential interior. For the turning period, application of the modular wall system would be one answer to substitute the wardrobe.

• 한국가구학회지
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• 제17권4호
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.226-231
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• 2008

Indoor space becomes limited by each factor engirdling and defining infinite empty space. Those factors appear as physical ones called wall, floor, and ceiling, and earn existential value as a living space by placing furniture in the space organized in this way. However, it is not easy to find a clear harmony between the space and furniture. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. This study is to be unfolded by assuming that spatial furniture comes amid these efforts. Namely, furniture does not exist as a separate entity in a space but interacts with the construction; thus, furniture is immersed into construction or construction becomes furniture, which demonstrates that furniture is on the continuum of the composition of the space. This study looks into the characteristics of spatial furniture in contemporary indoor space through relevant cases, and prepares the ground for a creative interpretation of Indoor space.

• 한국가구학회지
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• 제12권1호
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• pp.113-124
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• 2001

This study explored the characteristics of contemporary furniture called New Design furniture design in terms of aesthetics of communication in the postmodern era. Qualitative conceptural analysis as the principal methodology was used to explore the characteristics of New Design furniture, which is accessible to the broadest possible public. Thereby, the communicative elements of symbol, metaphor, narrative, animation, imagination, humor, and/or wit expressed in New Design furniture were analyzed according to the designers'concept and work. As a result the postmodern aesthetics of communication made New Design furniture accessible to the largest number of People through cultural considerations in New Design furniture as it influences designers 'concept and work. However, it showed problems of New Design furniture in connection with postmodern aesthetics affecting mass production. Therefore, the designers have begun rethinking, redefining, and redesigning their furniture aesthetically, functionally, economically, and ecologically.

• 한국가구학회지
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• 제25권2호
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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.

• 한국가구학회지
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• 제27권3호
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• pp.197-202
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• 2016

One of the conspicuous changes in kitchens is that kitchen space is more economically constructed than ever before giving more considerations to functionality. At the same time, eco-friendliness begins enjoying more attention for health and well-being reasons. Which is more important between functionality and eco-friendliness is a matter of personal taste and judgement. But eco-friendliness has become one of the more critical criteria for users to choose kitchen furniture. This paper examines the design trends of Contemporary kitchen furniture from the perspective of functionality and eco-friendliness. Results show that, as has been expected, many of kitchen furniture items manufactured by major furniture businesses have been found more functional and more eco-friendly than before the research period. I expect this trend to continue long into the future.

• 한국가구학회지
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• 제20권4호
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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.

• 한국가구학회지
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• 제21권2호
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• pp.196-204
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• 2010

This study focuses on wardrobes to examine how the terms have been changed by comparing traditional Korean furniture in Chosun Dynasty and contemporary furniture since the traditional furniture terms and forms have been changed like our life culture. For chests and wardrobes, approximately 26 terms were used in Chosun Dynasty. However, only five of them are currently used for top panels, hinges, drawers, mirrors, and columns. For bedroom cabinets, 27 terms are used and 4 of them are changed with the same meaning. The change of the terminology results from the life culture mostly. While the Chosun Dynasty furniture terms were mostly presented as the Korean and Chinese language, in the contemporary furniture ones Korean and Chinese together with English are used. The English terms' usage results from hardwares imported from overseas. The terms derived from the three different languages are presented not only in the wardrobes but also other pieces generally.

• 한국가구학회지
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• 제27권4호
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• pp.325-334
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• 2016

This study explores developing a large round table with Bosang flower pattern for a contemporary meeting room made by a cabinet maker, Kim Byeung-soo, who has built the traditional Korean furniture in Korean Western Gyeongnam Province since after his elementary school. He uses the post finger joint from one of the middle level of his education process based on the traditional Korean technique, develops it into flower stem joint, and adds flower patterns' carving decoration called Bosang flower patterns. Hence, the table makes the table be strong, useful, and beautiful. Therefore, the modernized round table will be able to make the people access more easily and to make more demand on the traditional Korean furniture and the adopted furniture than ever.

• 한국가구학회지
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• 제20권4호
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• pp.326-338
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• 2009

This study aimed at developing tea furniture with beauty of traditional Korean furniture. As the population which drinks tea increases day by day in the light of LOHAS (Lifestyles of Health and Sustainability) era, the importance of the tea culture has been brought out and the interest of the pieces has increased with the cultural space. But the study is still not only insufficient for Korean tea cultural space, it is but also hard for us to find such pieces as holding the original culture's charm. Thus, after studying concepts and spatial qualities of the tea cultural space based on the traditional culture and after investigating the tea objects including the integral parts, a piece of tea shelf with table which hits the emotion of Korea necessary to tea cultural space was created with solid wood. As a result, if we rediscover and develop the tea pieces with beauty of traditional Korean furniture mentioned as the green furniture, the objects will be standing on tiptoe as contemporary tea pieces conveying the identity of Korea. In addition, they will have a competitiveness across the world pursuing LOHAS beyond well-being.