• Journal of the Korean Wood Science and Technology
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• v.33 no.3 s.131
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• pp.1-10
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• 2005

Tree-ring chronologies can be used to date historical buildings or furnitures by matching them with chronologies of living trees. Tree-ring dating gives a calendar year to each tree ring and produces the cutting dates of logs or woods. In this study, we intend to extend our tree-ring dating applications to Korean furnitures. As a case study, we examined two traditional furnitures, one cabinet 'Jang' and the other chest, 'Bandaji'. The cutting date of the cabinet woods was A.D. 1839. The date of the outmost ring in the chest was A.D. 1904. Due to no bark present, the cutting date of the chest was only estimated as $1930{\pm}10$ by 'sapwood rings' estimation method. Ring-width pattern of the latter one also indicated that the origin of the chest must be Kangwon province. This case study suggests that tree-ring dating would be a useful and accurate method to identify the critical dates for the chronicles of Korean traditional furnitures.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.150-157
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• 2009

In the 1970's the Interior Design Associations was established and the activity of youth designers who werecalled the "first generation of Korean interior designers" were created. This study is aimed to analyze characteristics and trends of commercial interior design in the 1970's. The design methods include the documentary research and the actual proof research conducted. The frames of analysis were made by the background theories about Korean interior design, and the annual case studies were analyzed and estimated according to the design types. The design types were analyzed by the geometrical simplicity research, the romantic emotional expression, the Korean identity expression, the machine technical asthetic expression and the eclectic style with western classics. In the early 1970's, the abstract, brief, and simple expression were presented most frequently by the geometrical form and the repetition of the pattern. From the mid-1970's the romantic and emotional atmosphere of the youth culture that was popular at that time were expressed as vernacular design by the rough finishing of the natural materials such as plaster, brick, and wood floorings etc. The space such as a Korean food restaurant relates to the Korean traditional culture aims to be different through the expression by the Korean traditional patterns, furniture, and materials. In the late 1970's the metals and glass were used for the expression of the machine aesthetic form but was not popular because of the rare application. The type that revived the past western traditional form was presented by using the arch, dome, and the curved and luxurious moldings.

• Journal of the Korean Society of Food Culture
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• v.23 no.2
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• pp.204-213
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• 2008

In this age of information ruled by new technologies and knowledge, the world is interconnected as a single community, and within this trend of globalization, new cultural codes are emerging through temporal fusion between the past and the present and spatial fusion between different regions and countries. In this situation, it seems meaningful to review Korean fusion foods and restaurants serving such foods, as well as to consider their future directions. Thus, the objective of the present study was to survey and analyze Korean fusion restaurants representing Korean culture not only in Korea, but also in foreign cities, and to identify the expression characteristics of such restaurants. Based on restaurants recommended in relevant magazines and on Internet sites, 18 spaces were selected, visited, and surveyed, in which tradition and modernism were well-mixed. Data on the shapes, materials, colors, and patterns of spatial elements and food-related elements, including photographs, were collected and analyzed. The results are as follows. Of the 18 restaurants, 13 (72%) showed temporal fusion in both spatial and food-related elements, 4 showed temporal fusion in spatial elements and cultural fusion in food-related elements, and 1 showed cultural fusion in both spatial and food-related elements. In general, the spaces were mainly designed with modern elements and partially with traditional elements (ceilings, windows, furniture, articles), and the fusion of food-related elements was made in diverse forms that included temporal fusion restructuring traditional menus contemporarily, and cultural fusion harmonizing traditional food with Western cookery.

• Archives of design research
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• v.14 no.2
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• pp.197-207
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• 2001

A designed object reveals its meaning and image through form, color and material. Among these three elements, material has more powerful influence with its tactile and visual characteristics. In Korea, traditionally materials itself were mainly used to design artifacts rather than various color or formal decoration. The purpose of this study is to investigate the Korean traditional materials, and to classify them by the characteristics of their texture. For this study, the pictures of Korean traditional artifacts were collected from the national museums and literature. Those are architectural and interior elements, furniture, cloths and textiles, arts and crafts. Total of 533 collected artifacts were classified into seven categories, metal, day, stone, paper, wood, straw, fabric things. : 59 metal things, 115 clay things, 62 stone things, 73 paper things, 80 wood things, 47 straw things, 97 fabric things. Each materials were classified into its forming methods and surface treatment focused on the he characteristics of their surface texture. Throughout this study, the uniqueness of forming method and surface treatment of each materials in Korea has been clarified. And furthermore the classification by this various traditional methods of materials will provide plentiful information and ideas to today's designers of the world.

• Archives of design research
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• v.11 no.1
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• pp.259-268
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• 1998

Ideals of beauty has expressed variously through the centuries and in different cultures. Each traditional 'togu' has it's own morphology (in the meaning of nonverval linguistic) as using various type of language in each cultural erea. Korean aesthetics on 'dogu'philosophy introduces a whole new set of basic concepts outside western aesthetic framework of beauty Most distinctive is the insistence on overcoming dichotomies, especially between cognition and emotion, (momism)body and mind, self and other, and individual and group. Several topics are particularly illuminating within aesthetics: furniture, calligraphy, traditional garments pose interesting challenging to the art/nature, inside/outside, ethics/desire dichotomies so crucial to moral and cultural context. aesthetics are equally deserving of philosophical scrutiny: the ways in which philosophy of 'dogu'and aesthetics are integrated with daily life, the emphasis on process or understanding context rather than product itself or product 'form'. Dogu did not separate daily life and aesthetics from understanding social context. Language of 'togu' also has own vocabulary and grammar. But we often cannot gain our persnol experience truthful beauty of togu until understand context of understanding. it would be immpossible to explain ,or to analize different way of thinkings and behaivor precisly without understanding same codes of language.

• International Journal of Human Ecology
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• v.6 no.2
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• pp.85-94
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• 2005

The purpose of this study is to analyze the preference of spatial elements for common space planning in senior congregate housing. For the study, 500 potential consumer's residing in Seoul was surveyed using the questionnaire in the social survey methodology. As for the common spaces, gardens, treatment, and exercise rooms were preferred. A combination of both separate and group arrangement of the buildings was preferred, indicating that people wanted separation of the common space and the individual living units. Second, people preferred sharing parts of the common space with their neighbors and as is the traditional custom, preferred to take off their shoes at the entrance to individual units. Third, for the furniture and facilities, they wanted the manager room in the lobby, the small meeting rooms in the public dining room, a fitness center in the activity room, the rack or alcove to store items in front of an individuals unit in the hallway, a chair to sit down in the elevator, and the chair to rest on the stairway landing. Fourth, in terms of priority for planning the senior citizens' community housing, safety, familiarity like a regular home, reduced isolation and loneliness, sense of belonging, economic factors, aesthetic appreciation, daily life supplement, variety, and self-identity were answered in that order.

• Journal of the Korean Wood Science and Technology
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• v.18 no.2
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• pp.79-85
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• 1990

Traditional complex joints have used to a wide variety of wooden furniture construction. Dowel joint is the most popular joint s. However design of this joint to meet specified service condition has been hampered by a lack of proven design formulas which can be use to predict their strength. The object of this study is to investigate the withdrawal strength and effect of dowel diameters in wood and wood based materials. The obtained results were as follows; 1. The relationship between withdrawal strength and dowel diameter is found to be linear. 2. Withdrawal strength of medium density fiberboard and Sepetir in end-to-side joints is superior to Antiaris, particleboard and plywood. 3. In end-to-end joints, withdrawal strength of medium density fiberboard is the most superior joint. but Sepetir. Antiaris and plywood have similarly strength and particleboard is inferiority. 4. Withdrawal strength in end-to-end joints of Antiaris and plywood is higher than in end-ta-side joints. But in end-to-end joints of Sepetir. medium density fiberboard and particleboard is similarity in end-to-side joints.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.156-163
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• 2009

Retail space itself could be one of the marketing strategies, through creating space, and communicating brand identity. Especially for innovative products, such as mobile technology products, store is not just to sell products but to provide experiences so that users can fudge usefulness of products and reduce uncertainties to adopt the products. The purpose of this study is to investigate how environmental features and physical artifacts contribute to promote experiences of innovative products in stores and how physical environment help to establish brand identity. For this study, site visits, observation, and literature review were conducted. For case studies, three retail spaces (Apple, Iriver, Sony) and one service space(TTL) were selected. Compared to the service space, three retail spaces have more transparent and open store front design characteristics. For the experiences of shoppers, products displayed in a radial shape, round shape, column shape, and around peripherals of the stores. A service oriented space, TTL zone is differentiated from three retail spaces in terms of layout, store front design, and experience areas. Compared to the traditional stores selling innovative products, the case stores showed more warm atmosphere using various shape, wood materials, lighting fixtures and furniture.

• Journal of the Korean housing association
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• v.25 no.3
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• pp.165-179
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• 2014

The purpose of this study was to draw application elements of housing interior design according to user-oriented sensibility types. The sensibility evaluation experiments were conducted to target the general user 118 people using the sensibility evaluation tool for housing interior space. The results of the analysis were as: To produce the 'cozy' space, the colors and materials giving soft and natural feeling should be used. For the 'practical' space, type of ceiling and window that give the visually open feeling, the user-oriented furniture arrangement that allows using the space efficiently. For the 'cheerful' space, the simple and natural effects should be produced by using closed space that stable. For the 'traditional' space, the natural fishing material having rough texture should be used. For the 'unique' space, the space contained the dynamic feeling by the diagonal or vertical line and the graphic expression in the wall. For the 'congenial' emotional space, basic is the symmetric, stable and simple space. On the other hand, for the material, small size, natural texture or typical and soft materials should be used. For the 'sensuous' space, the dynamic and vertical sense of space should be expressed by the type of ceiling. The most important elements for the space of 'gorgeous' sensibility, is the color.

• Korean Institute of Interior Design Journal
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• no.6
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• pp.53-62
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• 1995

This research aims at proving the fact that the forms, spaces and many other design concepts of Modernism are much related with the changes of materials, struc-tures, and the way of construction as well as the idealis-tic and aesthestic things through the history of steel, one of the most important materials of the style. The meaning steel has in the modern architecture can be studied in the structure and industrial production system. 1) Steel frame broadened the range of understanding the space and created the new form through the skeleton/skin structure by reinterpreting the existing space fac-tors while it was being adopted to the architecture. Walls could be freed from the traditional function of bear-ing wall and roofs gave the transparancy to the interior by being linked with the glass. Posts lost the function which confines the space in the frame of the grid system and gave the flexibility to the interior due to the economical materials. These changes made the movable partition, screen with various materials and the system furniture which divides the space more important. 2) In the aspect of the industrialized architecture, it be-came the moment that the most of the archtectural com-posing parts were in mass production as they were standarized, high qualified, and generalized by the indus-trial characteristics of steel, and the specialization of structure and cladding, but the neither of the efforts to make the building itself by mass production or to standarize it was fulfilled. The high-tech architecture which borrows its archtectural manifestation from the high technology, however, is consistently paying efforts on such industrialization.