• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.140-143
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• 2004

The move from steel tubes to bent wood and the 'laboratory experiments' with wood which Aalto carried out in order to create furniture gave him vital impulses as he sought and found his own architecture style in the 1930s. Like his architecture Aalto's chair designs represent a 'humanized' interpretation of the severe aesthetic and radical technological experimentation of the Modern Movement. The purpose of this study is to find what is the result of the form of his works on the basis of main idea and tend of his works, to search the element and principle of formal composition, to establish the relation-ship between the architect's philosophy and the form of his works. Aalto's furniture, constructed of laminate bent wood or moulded plywood, is not only functionalistic, but also ideal for the psychological need of the people, which is the special quality that complements the Factionalism that features mostly on the metal tube furniture. It shows that Aalto is a humanist dealing with mechanized age.

• 건축역사연구
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• 제15권3호
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• pp.43-57
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• 2006

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

• 한국실내디자인학회논문집
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• 제12호
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• pp.91-99
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• 1997

Alvar Aalto has pursued National Romanticism, cultural art movement in scandinavian peninsula, organic concepts of growth and suitability, comprehensive view of nature including a possibility of coexistance of human-being and the nature well harmonized. For instance, his design expressed local features of the nature, human emotions instead of geometical arts and mathematical principles. It is noteworthy today that he built up the identity with satrical architecture vocabularies, different from modern arch-itechtural idiology. The characte-ristics of his design related to interior architecture are collectively as follows; The first, Space discontinuity of the interior and exterior, gradual process by joints which are inclined to collage with many shapes in plan and section of the space and such joints are adjusted by sensual ways and stressed with inner collectivity in his works. The second, He pursued the architectural orderfor modern irreqularity, various changes and sensual harmonies. As result, free curved line, fan shape and irregular modeling were individually expressed by technics of natural features and national characteristics of Finland. The third, Organic synthesis. A harmony through med-ums in its space, materials and space effectiveness relations are made and expressed for mixed design especially harmonized of all the materials he planned, entire harmony with total design, itemized details, materials and furnitures in entire space. The fourth, The interest of the nature based on his sense harmonized with nature made him mainly use native materials, lumbers and red bricks masonry and showed and arranged various interior sky light and grazed in to let natural light in, harmony with garden to sensually cohere to the nature and courtyard, etcetera. His major subject are to direct architectural developments through the nature and human-being in his works. At this point, it is considered that his direction of the locality and independence as a human-being made the concepts of organic space structure possible.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.31-38
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• 2007

This study investigated and compared regional features of Aalto's buildings and Gaudi's on the assumption that their designs are based on the regional backgrounds. For it, two churches of each one we selected and analyzed about five divided spaces like disposition, the exterior, plan, structure and introduction and use of the sunlight. As result of analysis, following conclusions are induced: first, Aalto's church design and Gaudi's we similar in which they reflected the thought of regionalistic design. Nevertheless they are deferred in which Aalto accepted the international functionalism but Gaudi rejected it due to his deep belief. Second, they followed the tradition of the regional architecture. Third, both of them took in consideration the nature, but due to the difference of the contexts they are deferred in its use. Finally, both gave importance to the sunlight. But Aalto is from the country where lacks the light while Gaudi is from the country where abounds the light, so its use is different. This investigation shows several possibilities of design under the influence of its regional culture, which gets more important in this century.

• 한국실내디자인학회논문집
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• 제19호
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• pp.11-19
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• 1999

This study is about the Characteristics of the Medievalism expressed in the German Architectural Expressionism. The concept of Medievalism is an attitude to revive the social and physical settings on Middle Ages. The social situation and architectural style in the Middle Ages were similar to the German Expressionism in the early 20th-century. The Medieval Characteristics of the German Architectural Expressionism were expressed in two ways -first, organic or sculptural style and second, fantastic or Crystal style. The architects such as Hermann Finsterlin, Henry van de Velde, Erich Mendelsohn, Rudolf Steiner, Hugo H ring, Hans Poelzig belonged to the first tendency, and such as Paul Scheerbart, Bruno Taut, Otto Bartning, Dominikus B hm belonged to the second tendency. The Medieval concept of the German architectural Expressionism was succeeded to Modern Architecture in 1950-1960s'. The architects in 1950-1960's such as Hans Scharoun, Gottfried B hm, Alvar Aalto, J rn Utzon intended to express organic and fantastic mass which was closely connected with the Medival concept of the German architectural Expressionism.

• 한국가구학회지
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• 제27권4호
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• pp.263-270
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• 2016

Range of cantilever construction that specializes in bridge and building has been extended, the process that affects the cantilever chair is the overall flow. 1926, appeared by Mart stam, cantilever chair has achieved a great development in a short period of time that has not been 100 years up to now. On the basis of age and the feature "Initial stage" - "Growth & Apotheosis stage" - "Application stage", was divided into the total three stages. And an understanding of the evolution of the cantilever chair that occupies an important part in the history of the chair design, is intended to consider the direction to go in the future.

• 한국산학기술학회:학술대회논문집
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• 한국산학기술학회 2012년도 춘계학술논문집 2부
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• pp.623-626
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• 2012

20세기 건축가들과 디자이너들은 사회적, 시대적 환경변화에 대응하여 새로운 디자인 언어를 수립하고자 다양한 노력을 전개해 왔다. 알바 알토는 모더니즘에 지대한 영향을 미친 건축가이자 가구디자이너로 평가받고 있는데, 그의 건축디자인과 가구디자인은 상당한 연관성이 있는 것으로 파악되고 있다. 본 연구에서는 알바 알토의 건축디자인 특성을 가구디자인과의 관련성의 측면에서 파악하여 그 상관관계를 파악하고자 한다. 이를 위하여 알바 알토의 건축 디자인 특성 중 유기적 측면에서 정리된 디자인의 불연속적 특성, 불규칙적 특성, 통합적 특성, 자연요소의 특성의 측면에서 그의 가구디자인 사례를 건축디자인과 비교하여 가구디자인에 반영된 건축적 특징을 파악하였다.

• 한국실내디자인학회논문집
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• 제5호
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• pp.30-36
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• 1995

Light plays an important role in making a continuity of space and in determining the distinctive expression and char-acter of a space. Particularly, the introduction of natural light derives from our esthetic needs, as well as from the fundamental biologi-cal necessities of human beings. And also, adaptation to time and space is the vital factor of human survival and prosperity. Our visual recognition of light is usually formed not only by practical illumination but by analogy, expection and expe-rienced of lighting itself. As the forecase of natural light is (almost) impossible be-cause of variables such as changing weather, reflection rate of light and the patterns of shade, in designing the introduc-tion of daylight, there should be follow-ed careful considera-tion of the adaptation to such variety and the impet-us of light. The research was conducted to mane a contribution to cre-ate more rich and beautiful interior spaces by studying the characteristic of light which is one of the important factors of interior space design, and by inquiring the way to intro-duce light and its effect through the practical examples of Alvar Aalto, Le Corbusier and Louis I. Kahn.

• 한국가구학회지
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• 제25권1호
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• pp.1-10
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• 2014

The First bentwood chairs in the world, called "winsor chairs" were made by British craftsman in the 17th century. Since then, from the start of NO.14 using solid bentwood by 19th-century German Michael Thonet, furniture making techniques such as Bent knee, Y-leg, X-leg- were developed based on Llaminated bentwood made by Alvar Aalto of Finland in the 20th century. In the 20th century Charles Eames of the United States studied Molded plywood, using plywood to produce a variety of furniture and during the 17~20 century a variety of Bentwood were developed. Coming into the 21st century, American Matthias Pliessnig and Phil Seaton worked with past Bentwood designs, developing Bentwood further by adapting Bentwood's know-how and IT technology. Science and technology evolved and Reholz of Germany developed technology which can mold three-dimensional wood using a new matarial called 3D-veneer, In the past only plastic or metal could be moulded 3 dimensional but now beautiful wood grain patterns can be molded by utilizing this technology. Also this is comparable with the past two-dimensional molding technology. In this Sustainable Design techniauses era, Bentwood fused with IT technology has great potential as a high-tech and eco-friendly techniche.

• 한국실내디자인학회논문집
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• 제13권6호
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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.