• Korean Institute of Interior Design Journal
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• v.24 no.3
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• pp.68-78
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• 2015

Nendo, which was established in Tokyo in 2002, is a design company established by Oki Sato, which is gaining reputation as a new design group representing Japan through numerous design tasks encompassing diverse design sectors, such as architecture, interior, furniture, graphic, and products. This study was conducted to investigate the formative features of Nendo furniture by reviewing 133 pieces of Nendo furniture designed for the last ten years and identify the general characteristics of Nendo furniture by reviewing the time of launch, product launch type, and furniture type. As a result, the design features of Nendo furniture are as follows: First, the shapes of basic materials including boards, lumber, and bars are maintained intact and Nendo furniture has simple and moderate design without complicated or decorative elements. Second, Nendo furniture has simply embodied a design characterized by simple transformation, minimization of furniture elements, and rearrangement. Third, Nendo presents new and simple furniture differentiated from other pieces of furniture using optical illusions. Such expressions of optical illusions which are hardly found in preexisting furniture are a major feature of Nendo furniture. Fourth, a majority of chairs of Nendo cause optical illusions with the minimized size. In addition, their top boards made of transparent glass and mirror cause optical illusions with the properties of materials. In short, design of Nendo furniture is characterized by formative expressions, expressions of optical illusions, and differentiated use of materials. Fifth, Nendo keeps launching new furniture items in various exhibitions. As a result, Nendo makes furniture with its own unique characteristics based on its diverse studies and experiments which are applied to furniture design in a realistic way. In summary, design of Nendo furniture is characterized by simply embodied design based on small differences in daily life, minimalism with simple and moderate shapes, and its own witty uniqueness based on formative expressions, expressions of optical illusions, and use of materials differentiated from other furniture brands.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Korean Institute of Interior Design Journal
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• v.18 no.3
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• pp.57-65
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• 2009

Library is a communication channel between book and human. Specially public library furniture plays an important role from every aspect in information materials and users, among users and in relationship between library managers and users. This study defined library furniture as a communication channel which connects library materials and users and was based on 35 local libraries and 12 overseas libraries. The author studied major elements and characteristics which constitute communication types among storage furniture, furniture in reading areas and furniture in digital reading area. The followings are the results from the study. First, storage furniture should be designed by reflecting characteristics of library materials and for effective delivering to the users. Therefore utmost communication can be made by searching for various designs in book-shelves and effective manner of display. Secondly, furniture in reading areas should support various users' needs from customized browsing to long hour studying and there should be properly supported for private space and correspondent reading postures. The third, there are needs for design conditions to support privacy and for comfort from long hour reading and mobility out of posture change in digital reading areas. The fourth, there should be ergonomically designed furniture plan and surroundings in public library which can boost various reading postures. Also furniture plan should be done by considering users' bodies and eyes orientations which can result in improved power of concentration.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2008.04a
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• pp.44-47
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• 2008

This paper evaluated the fire characteristics by using furniture calorimeter. Fire property assessment using the furniture calorimeter showed that the heat release rate is maximum 1,600 kW, maximum CO is 0.261%, maximum CO2 is 2.597%, while for the sofa for one person, the maximum heat release rate is approx. 531.5 kW, max. CO is 0.102%, and max. CO2 is 1.011%.

• Journal of the Korea Furniture Society
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• v.11 no.1
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• pp.91-104
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• 2000

Today's world situation which is changing rapidly has affected conditions of furniture industries in Korea. Apart from the governmental assistance, companies are seeking for their own way to strengthen competitiveness in the international market by using the cultural identity as value added of their products. Accordingly, this study presents a furniture design process which refers to the identity of Korean furniture based on characteristics of it's traditional style. Also it could show the way to innovate quality of export furniture products.

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.93-105
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• 2017

The elementary school classroom is a space where children spend a long time during the day, during the six years of childhood, in which children are emotionally sensitive and emotionally important. Therefore, it is necessary to create a classroom that can develop emotions considering the developmental characteristics of children. However, the elementary school classroom in Korea has less change in the classroom envir- onment than in the rapidly changing curriculum, and classrooms and furniture considering emotional development are hard to find. Therefore, this study suggests the necessity of improvement for classroom furniture of elementary school, presents problem and consideration condition of present classroom furniture by analyzing the present condition of elementary school classroom in Korea and child development characteristic of school age, and proposes the improvement direction through analyzing domestic and foreign classroom furniture products. To do this, we checked the physical and developmental characteristics of children ages 8 to 13, confirmed the use of the classroom furniture in 10 schools located in Seoul, Gye- onggi and Incheon, analyzed the problems of these furniture, compared and analyzed the shape, material, and color of the products of 32 domestic companies teaching tools manufacturers focusing on desks, chairs, lockers, and teaching aid box that are commonly used in classrooms. Through this, this study provided basic data for the selection of ideal classroom furniture in the future.

• Korean Institute of Interior Design Journal
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• v.13 no.6
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• pp.140-149
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• 2004

The bentwood technique was introduced for the Windsor chair for the first time in the 18th Century. It was Michael Thonet who produced the bentwood chair in Austria around the 1870's, and it has changed the perception of architects and designers since then. The bentwood chair suggested a new and eccentric way of manufacturing furniture and the process of producing materials for it. Moreover, the method of furniture assembling, with screw nails, made a positive contribution not only to the convenience of transport and distribution of furniture to anywhere in the world, but also to the development of mass production of furniture for the multitudes. The bentwood technique of Michael Thonet was developed much further by Alvar Aalto, who inferred a soft curve from nature and developed the beauty of modern laminated bentwood by using birch, a plentiful resource of Finland. This study will help us to understand the functions and process of bentwood furniture, and help to develop technical skills for diverse furniture design. It will also confirm that diverse bentwood furniture design will be possible by applying materials, technical skills and the design process of bentwood according to the characteristics and concept of furniture design.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.115-122
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• 2006

The purpose of this study is to investigate the design principles of organic integration on furniture design by Frank Lloyd Wright. He consistently pursued organic principles in interior design, furniture and equipments. He insisted that every elements of a building can be integrated into architecture as if architecture can be a part of the nature. The study surveyed and analyzed the examples of furniture design in Wright houses from the viewpoints of spacial and formal integration as well as organic evolution. The study finds the characteristics of organic integration on furniture design as follows. He designed built-in furniture as an important part of the house, which seemed to grow up from the architecture design and a part of a building. He also designed and arranged free-standing furniture as spacial device in open floor plan. Moreover, furniture design repeated same geometry, modules, and proportion system of house design in order to integrate Into the building. In addition, material and color of furniture follow those of architecture. Wright's furniture design had changed from heavy forms in his early prairie houses to light and practical shapes in his Usonian period.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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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.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.374-387
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• 2009

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.