• Journal of the Korea Furniture Society
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• v.15 no.2
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• pp.63-71
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• 2004

Deutsche Werkbund, founded in 1907 and closed by Nazis in 1934, is affected on German economic growth and industry The purpose of the association was the improvement of industrial materials as emphasizing the close relationship between artists and industrialists. The group is developed within the contrast idea of Hermann Muthesius who wanted the standardization of industries and of Henry van der Velde who wanted the freedom of artistic expression based on individualism. The furniture of DWB in terms of function exemplifies remarkable structures compare to furniture existed eyer before. The use of such functional elements as shelves, casters and drawers in rectangular forms is notable. And the form make it possible to utilize in small spaces. Thus, the furniture of DWB represents such standards in industrial design as simple, and geometric forms without any ornamentation.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.

• Archives of design research
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• v.16 no.4
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• pp.413-422
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• 2003

In the early 20th century, the efforts for design standards for industry and the new aesthetic of Functionalism began from the Deutcher Werkbund, an English German Association of Craftsmen. In the similar vein, the Bauhaus, founded in 1919 at Weimar, provided the definition of Good Design, as a contemporary concept, that combines art with technology. From 1950 to 1955, the modern usage of the term 'Good Design' was derived from a series of exhibitions and consumer education programs conducted by the MOMA(Museum of Modern Art, New York). The mission was to bring modern design to the attention of the general public. From the second half of the 20th century, many specialists in different areas, such as designers, manufacturers, enterprises, and scholars, began to give various definitions of 'Good Design'. That's why it could be interpreted and applied to unique and various methods by them. Meanwhile, Rams and Norman argued that the Good Design has to be not only considered within function, aesthetic, technology, etc, but also interpreted from both the physical and psychological point of views. Accordingly, this study tried to find out the historical investigation and the definition of Good Design in detail, and to figure out that the user-centered design from both physical and psychological approaches is eventually synonymous to 'Good Design'.