• 한국가구학회지
• /
• 제11권1호
• /
• pp.91-104
• /
• 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.

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

• 한국가구학회지
• /
• 제27권3호
• /
• pp.211-219
• /
• 2016

Culture and design change with time and what they have in common is that both develop in line with the era's living environments. Today, various life styles have emerged to cause changes in housing and living modes and we are in need of designs that can be commonly used in any place. Under the circumstances, furniture plays a role of medium that helps interactions between the human and the space and it has long been used in a variety of ways amid the change of the times. Soban, Korean traditional furniture, is a tool used in our real life and it is a piece of furniture that caters for both arts and functionality. It has been more of a living necessity and accordingly carried wisdom of experience for survival, rather than artificial beauty. Unlike other types of furniture, it is a practical tool designed in consideration of users. Therefore, this study aims to find traditional furniture's wisdom of experience in Soban, which tends to get neglected, and ensure its value as a modern design element, and to contribute to express and study the formative arts of Korean design so that a past living necessity of Soban can overcome its limitation of being floor-seating furniture and become more than an eating tool in it value.

• 한국가구학회지
• /
• 제22권2호
• /
• pp.101-111
• /
• 2011

The intention is to explore the differentiation or evolution of the chest of drawers in traditional Korean, Western, and Japanese furniture in order to know how the drawers currently becoming popular in Korea were developed historically. The Korean furniture centered in $Jang$, $Nong$, and $Bandazi$ used in the tradition generally, the Western furniture involved in drawers, and the Japanese furniture called $Tansu$ in Japanese called the chest of drawers were focused on the study because the Western and Japanese drawers affected the development of the chest of drawers in Korean furniture during the late 19th century and the Japanese Ruling Era, respectively. As a result, the Korean furniture was not shown the chest of drawers but only small drawers that store small items located in the upper part of $Jang$, $Nong$, and $Bandazi$ mostly used as wardrobe, while the traditional Japanese furniture developed from Edo period (1607-1868) had showed a wide variety of chest of drawers like $Isho-dansu$, $Mizuya-dansu$, $Kusuri-dansu$, $Cho-dansu$, $Funa-dansu$, $Kaidan-dansu$, $Nagamochi-dansu$, $Kuruma-dansu$, and so on, for specialized storage. And in the traditional Western furniture were presented the chest like a large-box form, mule chest, chest of drawers, cabinet, commode, highboy, tallboy, wardrobe, secretary drawer and bureau with document drawer invented and evolved throughout the 15th-18th century. Therefore, the chest of drawers in contemporary Korean furniture is supposed to adopt the Japanese and Western drawer form and to ensure the continual production from the obvious utility of the design with decoration for our current everyday lives.

• 한국가구학회지
• /
• 제16권2호
• /
• pp.85-93
• /
• 2005

There are several way to classify the furniture. The furniture can be classified into use, style, and function, but if the furniture is classified into the way of production, it can be the industrial furniture and the studio furniture. Especially, technology and function of the furniture are important elements in industrial furniture. However, it could be considered artists' character and concept as more important elements in the studio furniture. The studio furniture had come out one of the historical movement in American furniture field after the World War II. This case to apply found objects began to increase after the 1970s. Using objects In furniture design field had built up sprightly after end of 1950s. This expression could be the statement of new expression that essential properties of matter in objects is removed. I try to suggest original and interesting furniture design to apply found objects in this thesis. Especially, I use the Korean traditional objects for the furniture and try to make their essential function to be changed. Also, I focus on furniture design to have formative element in their shapes.

• 한국가구학회지
• /
• 제25권2호
• /
• pp.79-86
• /
• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• 한국가구학회지
• /
• 제20권5호
• /
• pp.504-516
• /
• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• 한국실내디자인학회논문집
• /
• 제13권5호
• /
• pp.173-180
• /
• 2004

The cultural identity of each nation has appeared as a major issue in this multi-cultural era, and needs to define It clearly through comparisons with other cultures have been raised. The purpose of this study is to figure out ‘similarity’ and ‘dissimilarity’ on design characteristics of traditional storage furniture in interior context of Korea, China and Japan. Comparative analysis of traditional furniture was conducted in two terms, in terms of inner space, first, spatial elevation and front patterns, second, flooring materials of the interior space and types of furniture legs. Result of first comparative analysis showed that composition of windows, one of the major decorative elements of interior space, positively influenced on furniture, and reflected unique patterns of each country. Second comparative analysis showed that structures and shapes of traditional furniture vary depending on flooring materials. As a result of it, Korean furniture has the structure of ‘punghyeol’ and Chinese furniture has the structure of ‘aja’ with ‘takni’ , a combination of legs. In contrast to the two countries, Japanese furniture has rarely legs. The result of analysis is expected to act a role of establishing the cultural identity of our own country.

• 한국가구학회지
• /
• 제24권3호
• /
• pp.286-292
• /
• 2013

Space given at home, furniture is an important condition to determine its size. As a method for satisfying outer and functional human needs, ever changing, shaped form has also been developed. Modern people tend to decorate the beautiful living space to the needs of the beauty and space of living. In order to satisfy these requirements, the development of furniture to suit the taste of modern people is required. In this study, we add together the design and contemporary design of traditional Korean and use of raw wood can feel the natural and applied to furniture retro design. It is possible to have a motif characteristic of Hanok traditional to suggest a design where you can feel the sensitivity with retro in the direction of the current design change is large and diverse, and in harmony with the living space of modern it is an object that you study the production lighting and storage furniture with the complexity of the traditional and modern.

• 대한가정학회지
• /
• 제24권4호
• /
• pp.139-146
• /
• 1986

The purpose of this study was to identify aesthetic concepts of‘Sarangbang’furniture during the Yi-dynasty period and aesthetic descriptions indicating each concept expressed by experts in traditional furniture. The furniture selected for the study includes desks, table bookcases, document and stationary boxes (mungab), letter holders (Kobi) and inkstone boxes (younsang) with lacquer and oil finish on. The respondents were 72 traditional furniture experts; researchers collectors, sellers and artists related to period furniture. The important points of aesthetic descriptors were collected 123 from related literature. From experts' answers, 47 representative descriptors were selected. Data were analyzed with the SPSS using frequency, Percentage mean, factor analysis, t-test and C2. The results were as follows; 1. The aesthetic concept of sarangbang furniture during the Yi-dynasty can be categorized into 9 aspects; appearance of beauty, stability the interior space, naturalness, nobleness/harmony of lines, detail/refinement, simplicity, diversity solidity and surface division. 2. The characteristics of the Korean traditional furniture can be described using 47 descriptors explaining 9 concepts mentioned above.