• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.148-157
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• 2010

The purpose of this study is to identify characteristic of Swedish modern furniture design through design works made by 8 prominent Swedish furniture designers during the 20th century. The study was completed through literature reviews and searching for web-sites of Swedish distinguished furniture companies. 8 furniture designers, eg. Erik Gunnar Asprund, Carl Malmsten, Josef Frank, John Kandell, Mats Theselius, Bruno Mathsson, $\AA$ke Axelsson and Yngve Extr$\ddot{o}$m were selected to identify the characteristics of Swedish modern furniture design. The results are as follows: 1) they pursuit simple and functional design beyond time. 2) they pursuit functionalism modified with Swedish traditional craftsmanship. 3) natural wood is considered as the most beloved material for the furniture together with other natural materials such as hemp, leather and cane. 5) easy maintenance and durability of the furniture are considered as important factors to make it last long. 6) ecological concept is fulfilled to meet environmental legislation.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.136-154
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• 2021

'Slow fashion' has become a hot issue in the fashion world as fast fashion has caused environmental and ethical problems. This study synthesized the characteristics of slow fashion from preceding studies and organized them into four characteristics (craftsmanship, nature-friendly attitude, localism, and pursuit of exclusive value). This study compared designers, John Alexander Skelton and Geoffrey B. Small with four characteristics. First, both designers sought craftsmanship based on tailoring, but Skelton focused on the eco-friendliness of materials, and Small emphasized the development of high-quality fabrics. Second, we found a nature-friendly attitude in both designers, but unlike Skelton, which maintains nature-friendliness in the process of clothing production, Small showed this characteristic through presentations. Third, both designers revealed localism through their affection for the fabrics and culture of each country. Moreover, Small extended its meaning to respect minority tastes. Finally, both designers pursued exclusive values through collections under the themes of class problem, and gender conflicts. However, Skelton melted these topics into British culture and revealed them indirectly versus Small who showed sensitive topics directly in the collections. This study will provide the foundation for analyzing designers through the characteristics of slow fashion, and suggests directions that slow fashion designers should move towards.

• Proceedings of the Korea Society of Design Studies Conference
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• 1999.10a
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• pp.92-93
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• 1999

컴퓨터와 급속도로 발전하고 있는 인터넷 환경속에서 일어나고 있는 디지탈 혁명은 사회, 경제 환경 전반에 걸쳐 많은 변화를 이미 가져 왔고 앞으로도 계속적인 빠른 변화가 예상되고 있다. 편집 디자인 분야 역시 새로운 환경 속에서 매체의 다양화와 변화를 통해 그 영역이 확장되었고 새로운 실험들이 활발하게 일어나고 있다.(중략)

• International Journal of Costume and Fashion
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• v.12 no.1
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• pp.83-95
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• 2012

This study aims to develop the 21st century eco design-based fashion products by examining Taller Flora products and presenting eco design approaches. Eco design terms were examined based on literature, and Taller Flora products were explored based on literature and websites. The following research issues were discussed. First, eco design terms are totally handled, thus defining the eco design. Second, eco design-oriented Taller Flora products are examined to explore design approaches. Eco design aims to conserve and heal the global environment with focus on a greater understanding of and interest in nature. As such, eco design is based on a new modern concept of aestheticism that seeks to minimize environmental damage caused by the three processes of production and distribution use and disposal, to take social and moral responsibilities for such activities, and to avoid hurting the environment. Taller Flora brands seek to produce products by keeping close ties with indigenous communities in various nations, and by emphasizing and embracing indigenous people's craftsmanship spirit and creativity Indigenous people use eco-friendly materials and produce products with craftsmanship spirit, and their cooperation by linking different cooperative networks is a good model for strengthening fair trade networks. These addresses the problem of expanding design work through traditional crafting. Therefore, the features of Taller Flora brands presented a new method to approach the eco fashion. The research findings are expected to help develop the eco design of fashion products.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.3
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• pp.492-507
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• 2010

The eco-design in modem fashion is mixed with a well-being trend that combines functionality and ethics with technology to suggest a new fashion style for the $21^{st}$ century. This study analyzes the colors of the eco-design in the current fashion trends and identifies the eco-friendly color images that suggest directions for eco-design. The results of this study are as follows. First, the eco-design is an ethical design concept of the ecological value. It can be classified into the functional efficiency in the multi-functionality the sustainability, the recycling capability, the trends for health and craftsmanship, according to various suggestions by eco-design related theorists. Second, the eco-colors shown in the fashion trend follow the order of YR, R, Y, N, and B, with the order of the pale, grayish, light grayish and dull tones. Third, the hue trends of eco-colors each eco-type are focused on R, YR, and Y. With regards to the tones, the functional efficiency, the multi-functional capability, and the sustainability are shown in the neutral tone, while the recycling capability is shown in the grayish tone and the trends pursuing health and craftsmanship are shown in the pale tone.

• 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 Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.54-60
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• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.15-26
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• 2020

Local product is the key driver of regional economic growth. Despite abundant attention - there remains to examine about sustainable growth of local products. While previous studies have focused on local product brand and tourism effects, we need to know more about other way or mind-set that upgrade local product quality in local circumstances. This research topic's goal is to provide an academic implication to discuss sustainable growth and local product developments in Gyeongju bread and waxy barley bread from succession and entrepreneurship view with practical lesson for fostering local products. In-depth case study conducted within ancient capital Gyeongju bread and waxy barley bread provided combined evidence that craftsmanship and entrepreneurship is vital to the sustainable growth of local bread. Our study suggests that how succession is deployed serves as a key engine for the craftsmanship and entrepreneurial mind of local product business ownership.

• Journal of Fashion Business
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• v.8 no.3
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• pp.20-33
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• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.10 no.8
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• pp.3925-3942
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• 2016

Like natural climate change on the planet earth, the climate in software development environments is also changing (fast). Like the natural weather, the software environment is also disruptive. As the climate experts alert and suggest taking necessary measures to overcome certain challenges to make this earth a safer and comfortable living place, likewise this article also alerts the relevant stakeholders of software craftsmanship about the dynamic challenges that traditional Software Engineering (SE) with purely "Engineering mind-set" is not capable to respond. Hence, some new thoughts to overcome such challenges are shared. Fundamentally, based on the historical evidences, this article presents the authors' observation about continuous shift from traditional "Engineering-based" software development approaches to disruptive approaches - "Vibrant Softology". The authors see the cause of this shift as disruptive transformational force, which is so powerful that it is uncontrollably diminishing the "Engineering-based" approach from software development environments. The authors align it with climate change analogy. Based on this analogy, the authors feel the need to theoretically re-coin the notion of SE to some new term; perhaps Vibrant/Dynamic Softology (VS or DS). Hence, the authors suggest "a new (disruptive and dynamic) way of thinking is required to develop software". It is worth mentioning that the purpose of article and this new theory is not to disparage the notion of software engineering altogether, rather the aim is to highlight the importance of transformation from SE to its next level (perhaps VS/DS) due to the emerging needs in the software craftsmanship environment.