• 한국콘텐츠학회논문지
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• 제14권2호
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• pp.103-112
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• 2014

전통사회로부터의 발전 및 변화에 따라 사람들의 사고방식과 생활습관도 변하고 있다. 현대 사회에서는 전통적인 가치관의 탈피와 결혼관 등의 변화로 인해 싱글족이 점차 늘어나고 있으며, 이에 따라 싱글족의 행동방식, 생활환경, 소비습관 역시 관심의 대상이 되었다. 싱글족의 출현으로 전통 가구 역시 이미 이들의 수요를 만족할 수 없게 되었고, 때문에 싱글족의 특성에 맞춘 가구 디자인을 개발해야 한다. 본 연구는 싱글족의 발생배경 및 소비심리에 대한 연구를 통해, 싱글족의 소비와 기호의 특성을 분석했으며, 가구수요를 조사해 싱글족의 거주형태, 가구종류 및 특징에 대해 정리하고 있다. 또한 SWOT분석 방법을 사용하여 싱글족 가구의 장단점에 관하여 한층 더 체계적인 연구를 진행했다. 더불어 싱글족의 가구 수요, 거주형태 및 싱글족 가구의 장단점에 대한 분석을 종합하여 싱글족을 위한 멀티형 가구 디자인이라는 개념을 내놓았으며, 이를 기초하여 싱글족의 특징 및 수요를 만족할 수 있는 가구 디자인으로 싱글족의 가구수요를 만족시키기 위해 본 연구를 진행했다. 마지막으로 멀티형 디자인 및 접이식 기능은 공간 활용도를 향상시켰으며, 새로운 제품 디자인 개발방법을 제시한 점에서 새로운 의미를 가진다.

• 한국가구학회지
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• 제19권3호
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• pp.180-192
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• 2008

The historian called Peter Burger divided it into historical avant-garde before and after the first World War (Dadaism, Futurist, Geometric Abstract, etc.) and Neo- avant-garde during the period of forming social foundation that would be ready to accept new forms of art in the USA, the center of capitalism, after the 2nd World War such as pop art and conceptual art including the then emerging avant-garde minimal art. Meanwhile, he interpreted that Neo- avant-garde succeeded the spirit of historical avant-garde. For modem furniture, the avant-garde terminologies are discussed from the aspect of epistemology or symbolism. On the other hand, they would be exclusively used for advertising slogans, however, it is considered as difficult due to vague terms or their characteristics. This study relates the points of historians such as Peter Burger for theoretical proposal and Richard Kostelanetz's point for formal issues, and contracts and arranges the avant-garde terminologies and its characteristics to the meaning of "getting out of the present decadent trend - aiming for future", "transcending the present aesthetic custom - renovation" and "violating the rules already established in the process of entering new areas - freshness of unfairness". The study was meaningful in providing fundamental clues based on the historical discussion and artists for Neo- avant-garde in the 1960s, that is, the mainstream of design at the end of the 20th century in the period when an avant-garde oriented alternative in the 21st century design has been sincerely required overflowed with the fin de siecle phenomenon.

• 한국가구학회지
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• 제22권2호
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• pp.112-117
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• 2011

In the present study the meaning of table in the Joseon dynasty period and also in the present age was researched, and its changing according to the times was searched as well. The results are as follows. First, the meaning of table in the Joseon dynasty period and in the present age has one thing, "laying something on table" in common from the functional aspect. Whereas the table in the Joseon dynasty period had the function of laying and keeping articles or decorations, that of the present age contributes to reading and doing office work of human beings and this exceeds the simple function to keep articles, because it touches parts of the human body, so it combines function of comfort accordingly, not only the function of storage. Second, it was differently presented from the aspect of shape. The table of the Joseon dynasty period strongly showed the shelf-like shape due to the set-up in layers, while the table of the modern times has the rectangle-like form in one layer. It has been transformed according to the functional changes. Third, it is different also from the constructive aspect. The table of the Joseon dynasty period had the construction with one panel on 4 legs in layer upon layer, but the table today has one upper panel on legs supporting it. Namely, the term "table" has been constantly used from the Josen dynasty period until today, but it has a totally different meaning according to the times on the basis of the changes in function and shape. In the furniture which maintains the function and shape of the square-typed table with 3 or 4 layers and the book table in the Joseon dynasty but is used under the different term in the present times it can be counted that display cupboard or bookshelf. Furthermore, desk and tea table can be regarded as furniture which exactly corresponds with the term "table" used in the present days, and also in the Joseon dynasty period there were furniture with such same function as like the writing table and small dining table.

• 한국가구학회지
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• 제26권1호
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• pp.31-50
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• 2015

This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country's national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.

• 한국가구학회지
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• 제25권4호
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• pp.288-296
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• 2014

The approach of using the structure of the Joseon Dynasty Zen tradition we design a piece of table for outdoor camping is a necessity in modern culture as continuing to develop this research. Analyzing outdoor and camping equipment according to the time change, we focus on the study table for outdoor camping can apply the structure of the elbow. Outdoor supply is also overlaid with the change, while changing in the picnic and camping camp sensibility that was taking advantage of the individuality of each of the general camp. However, it is a surface camp that Korean culture is not to build up the camp culture that has been fixed camp culture of the world in the only development, following the camp trend of European and American. In an attempt to adhere to the trend of Korea currently camped, camping outdoor products that apply the beauty of Korea with a combination of new modern representation tradition and our culture has designed research. I have designed the camp outdoor table based on the contents mentioned above. For the design of this time, it is now possible to use appropriately in accordance with the outdoor environment conditions that are designed to upright seat sharing table in the market tables for camping and to be divided into the seat and upright.

• 한국가구학회지
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• 제26권3호
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• pp.252-261
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• 2015

Unlike traditional cultural assets, industrial assets are closely tied with contemporary life in numerous ways, and have acted as a bridge between the traditional architectural buildings and contemporary architectural buildings, reflecting the overall economical, social and cultural portraits of that time. Reinvestigating them in a new light, granting just and fair values, and preserving and transmitting these modern cultural heritages is a method of preserving the historical and cultural traditions in order to keep own identity and integrity. Nowadays, however, due to various sprawling developments and new development-oriented urban policies, only a select few industrial assets are being protected, the rest facing demolition and damages. In order to better cope with such situation, Korea has officially introduced the Registered Cultural Properties System since 2001, and began acknowledging the historical values of industrial buildings as modern cultural properties. By systematic analysis and deduction of characteristics from successfully recycled precedents such Oberhausen Gasometer in the state of Nordhein-Westfalen that have been preserved and recycled as cultural spaces, this paper aims to find and propose suggestions to rehabilitate and recycle the industrial cultural properties in Korea.

• 한국가구학회지
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• 제23권3호
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• pp.252-260
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• 2012

Cultural products, applying the design elements of cultural heritage Bekuje content of the product, we chose the useful material that can be used on a desk stand in the smart-phone Sticky Notes (Post-it) for use in modern life. The goal of the development design, developed in the design and excavation element modeling can be taking advantage of the characteristics of traditional decor come connected by a pattern of Baekje, eggplant in harmony with modern life, a new sense was harmony, design. He stressed the beauty of decorative molding to apply discriminatory morphological changes associated with each, a unique pattern of human pattern Jinmyosu Bekuje was elected to the motif of cultural property. You can also use a visual representation of the beauty obviously sophisticated pattern that appears frequently in Baekje, was also emphasized inheritance and traditions of Korea. We also attempted a new way to make sure we can diversify and whether it is possible as a new form, enhance the value of products, from concept to molt general existing tourism products.

• 한국가구학회지
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• 제25권1호
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• pp.61-71
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• 2014

In the Nordrhein-Westfalen, Germany, there are approximately 3,500 industrial buildings under the cultural asset protection and management not only in the Ruhr-region but also state-wide. Unlike traditional cultural assets, industrial assets are closely tied with contemporary life in numerous ways, and have acted as a bridge between the traditional architectural buildings and contemporary architectural buildings, reflecting the overall economical, social and cultural portraits of that time. Reinvestigating them in a new light, granting just and fair values, and preserving and transmitting these modern cultural heritages is a method of preserving the historical and cultural traditions in order to keep own identity and integrity. Nowadays, however, due to various sprawling developments and new development-oriented urban policies, only a select few industrial assets are being protected, the rest facing demolition and damages. In order to better cope with such situation, Korea has officially introduced the Registered Cultural Properties System since 2001, and began acknowledging the historical values of industrial buildings as modern cultural properties. By systematic analysis and deduction of characteristics from successfully recycled precedents such Kueppers Mills at the Innenhafen Duisburg in the state of Nordrhein-Westfalen that have been preserved and recycled as cultural spaces, this paper aims to find and propose suggestions to rehabilitate and recycle the industrial cultural properties in Korea.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.106-113
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• 2013

Since the 1960's, diverse movements that oppose the uniform design tendency of modernism appears in Italy. Especially, Gaetano Pesce, who opposed uniformity and standardization that are based on mass production system, had interests in making unique product, not an identical product, while accepting modern production technology. Therefore, the purpose of this study is to comprehend Pesce's design, which creates diversity by arranging contingent, non-predictive, and episodic aspects in creative and acceptance processes according to the intension of the designer within mass production system, as a non-representational characteristic, which appears widely in modern thought and the arts, and examine how it is materialized in detailed design work. The study methods are first examining non-representation with theoretical contemplation and dealing with the design philosophy of Pesce based on the examination. Next, in order to discover non-representational characteristics that appear in the work of Pesce, it examines from introducing worker's creativity, user's possibility of choice, openness in the working process, and the aspects of researching materials. And a specific application method will be drawn through case analysis centered on furniture design. Gaetano Pesce's design that denies the world of representation based on the sameness comes to possess non-representational characteristics that acknowledge contingency and ceaselessly create difference by intentionally arranging during the working process.

• 한국가구학회지
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• 제27권3호
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.