• 한국가구학회지
• /
• 제13권1호
• /
• pp.49-59
• /
• 2002

The studio furniture movement that expanded in the United States after the Second World War was truly American creation representing highly sophisticated individualism versus industrial anonymity. The studio furniture movement can be traced back to the 1930s in terms of its influences and emergences. Based on the ideals of Arts and Crafts movements from the earlier decades, studio furniture movement emerged in the 1950s in reaction to Bauhaus inspired industrially produced furniture. Studio furniture has represented an alternative for people who wanted individual objects in their homes rather than industrially produced products. Opposed to plastics and industrial materials, artists in studio furniture mainly focused on one natural material, emphasizing its singular beauty. There were significant roles and influences of craft education along with Scandinavian influences in terms of spreading out the movement. A historical examination of furniture from the 1930s until the 1960s illustrates how this significant movement began in the mid-century.

• 한국가구학회지
• /
• 제12권1호
• /
• pp.91-101
• /
• 2001

This study explored the trend of postwar period American furniture design and analyzes the contexts of the trend. To be more specific, this study categorized the types of the styles or "looks" of furniture which were dominant in postwar period America: the machine look ; the handicraft look ; the biomorphic look. The background and the context for each look were traced back and analyzed both diachronically and synchronically. Based on the analysis, this study provided two conclusions. First, postwar period American furniture design is in many ways indebted to the World War II, because the war itself and postwar economic revival produced high demands for furniture, which consequently produced a variety of looks of furniture. Second, the furniture design in this period is attributed to commercialism and consumer-oriented design policy formulated in the mid 1920′s when American design established its own identity separating from European avant-gardism.

• 한국가구학회지
• /
• 제13권2호
• /
• pp.63-74
• /
• 2002

Furniture reflects historical, cultual spatial background of human life style. This means that we cannot think of a furniture apart from the living environment. This study is focused on the process of furniture design in woman`s fashion shop. Basically furniture design is consisted of two main parts of process. The first part is series of a theoretical background and the second part is a visual design process. Theoretical background contains human activities in place, antropometric data, requisite furniture type according of visual main concept, series of sketches and the development of alternatives of design. Researching and applying all these factors systematically to furniture design process will lead to well designed furniture and harmonious interiors.

• 한국가구학회지
• /
• 제14권2호
• /
• pp.53-61
• /
• 2003

Wharton Esherick (1887-1970) is the pioneer of the Studio Furniture movement which was emerging after the Second World War in the United States. As Esherick began to work on his studio at Paoli, Pennsylvania from 1926, he became enormously influential in the Stuido Furniture movement until his death in 1972. He was connecting the English Arts and Crafts ideal to the post-war craft revival. As the work of William Morris did, in the period of consumerism Esherick's furniture gave a chance to purchase unique furniture to people who wanted a different taste. Not only his furniture is unique and hand-crafted also has sculptural quality which made his followers to see furniture as a different possibilities. His work was influential to the people who followed him after the war such as Arthur Carpenter, Wendell Castle, and Sam Maloof. In the roots of the craft revival, it is hard to underestimate the contribution of Esherick's notion of sculptural furniture.

• 한국가구학회지
• /
• 제23권4호
• /
• pp.333-341
• /
• 2012

This study intended to be designed at the level of furniture users' eyes for the users in designing furniture. Children's furniture follows parents' point of view mostly because the parents purchase the pieces for their children. Most of the children's furniture tends to rule out their psychological phenomenon and behavioral development. Therefore, children's furniture must be designed for children to be able to learn through their cognitive development and creative learning experience from having fun naturally by using the pieces combining with the typical play in their everyday lives like coloring, puzzling, and acting with movement.

• 한국가구학회지
• /
• 제19권4호
• /
• pp.243-251
• /
• 2008

This study explored the theoretical context of postmodern aesthetics in experiencing art/craft/handmade/studio furniture for 'wood culture experience class' or 'wood love experience class', which has been recently carried out by the Korea Forest Service and is apt to focus on making simple wood work just involved in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. I developed the lesson for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the lesson, I explored that students in elementary schools personally understand and define the postmodern aesthetics of New Design furniture as metaphor. As a result, the students will be able to define and identify New Design furniture as metaphor in their lives.

• 한국실내디자인학회논문집
• /
• 제19권1호
• /
• pp.148-157
• /
• 2010

The purpose of this study is to identify characteristic of Swedish modern furniture design through design works made by 8 prominent Swedish furniture designers during the 20th century. The study was completed through literature reviews and searching for web-sites of Swedish distinguished furniture companies. 8 furniture designers, eg. Erik Gunnar Asprund, Carl Malmsten, Josef Frank, John Kandell, Mats Theselius, Bruno Mathsson, $\AA$ke Axelsson and Yngve Extr$\ddot{o}$m were selected to identify the characteristics of Swedish modern furniture design. The results are as follows: 1) they pursuit simple and functional design beyond time. 2) they pursuit functionalism modified with Swedish traditional craftsmanship. 3) natural wood is considered as the most beloved material for the furniture together with other natural materials such as hemp, leather and cane. 5) easy maintenance and durability of the furniture are considered as important factors to make it last long. 6) ecological concept is fulfilled to meet environmental legislation.

• 한국가구학회지
• /
• 제28권4호
• /
• pp.259-267
• /
• 2017

Furniture should change according to space. Therefore, it is important that the flexibility of the furniture, the functional efficiency, the economical efficiency and the convenience of the furniture of today. These characteristics are also important for seminar tables that are used temporarily by a large number of people. The seminar furniture currently in use has no shielding plate, there are two forms of table and shielding plate folding table. Therefore, in this research, furniture design and product development that can complement the shortcomings of the seminar furniture currently in use were done. Analysis of problems through overseas investigation and domestic market research, design planning and design, and prototyping. We have sought to optimize the volume by applying the characteristics of RTA furniture to develop a lightweight, lightweight, lightweight, easy to install and easy to use shielding plate, and open and closed system. Basically developed two types of shielding board seminar table basic shape and Roll Screen type, we expanded the scope of application such as each color and pattern. In order to reduce the weight, we replaced the parts such as anchor bolts and hinges and the shielding plate with Roll Screen and pursued volume optimization. As a result of this research, it is expected that the system of mechanisms such as packaging standardization and damage prevention for weight reduction and volume optimization will contribute to building competitiveness by domestic office prefabricated furniture industry's original technology.

• 한국실내디자인학회논문집
• /
• 제13권4호
• /
• pp.164-171
• /
• 2004

Currently, the beauty of Korean traditional furniture has been changed irregularly and even the traditional character has been distorted. The purpose of the study is to examine the current situations of traditional bedroom-furnitures that are reproduced and sold at the markets in Korea. The eight companies were selected as a research sample. All those companies also participated at the "Living-design Fair 2003 and 2004" The traditional bedroom-furnitures were the limited products as a research target. As a method of the research, the content analysis such as names, dimensions and types was used. The results of research were as follows： 1) Using the confused names for a same item, 2) Changes of dimensions, 3) Diversification of the types, 4) Mixing with Japanese style furniture in the Korean traditional furniture market. On the basis of the results, selected eight companies were divided into three types： First, representation of traditions near to the prototype, second, reforming to be suitable to the contemporary life-style, and the last, mixing of Japanese style furniture. This research will make us be concerned about reproduced Korean traditional furniture and established the position to seek for Koreanity. This research expected to be a reference to develope Korean traditional furniture industry, opportunity of verification for reproduced Korean traditional furniture companies and find out the change of life-style through a comparison analysis of the original traditional furniture.furniture.

• 한국가구학회지
• /
• 제20권3호
• /
• pp.213-221
• /
• 2009

This study aimed at developing furniture for children by Ilgumte which is an expert manufacturer of educational equipments for school and kindergarten and the aim of this investigation is to develop the child-oriented furniture in consideration of Ilgumte's characteristic as a company composed of the disabled people, and furthermore to create a new sales market by developing own technology to improve competitive power. The current status of the child furniture in domestic and international market was researched and design concept on basis of this analysis was set, and through the designing process the new items of furniture having characteristics as follows were developed. First, the simple production way for the disabled to be able to work was selected and plywood used mainly by Ilgumte was presented as main material. Second, moving course, space and storage function were maximum considered, so that children feel convenient at using the furniture in their space, in case of playing as well as leaning. Third, natural wooden texture was mostly reflected for the emotional aspects of children and pink color played a role as partial accents. Finally, difficult production skill and expensive material were excluded for cost down.