• 한국가구학회지
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• 제17권4호
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• pp.59-83
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• 2006

This article was written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. This article contains, the characteristics of the style of the Adirondack rockers, the Mission style rockers in America and the European rockers. Adirondack rockers ($1850{\sim}1940$) were made in various styles out of the mingling of rustic sensibilities with the formalism of Victorian designs. They were Old Hickory chair Co. style, Westport style, bentwood rocker style of two shape and Mottville rocker style. Mission style denoted American furniture design style of the early 20th century especially the work of Gustav Stickley and Roycroft Community. Mission style rockers had a simple, rectilinear style with exposed construction techniques, unpretentious materials (usually oak, with covering of leather, canvas or plain cloth) and little or no decoration. European rockers ($1660{\sim}1918$) have come to mean rockers from the English regional chair, Thonet, J&J Kohn, Henry Van de Velde and Hoffmann. The modernism of modern furniture was affected by the characteristics of the Adirondack rockers, the Mission style rockers and European rockers.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.86-90
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• 2006

Through this study, I conducted surveys on apartments with western style furniture to investigate perception on the western style furniture and its use. For the subject of survey, I selected three apartment complexes at Suji-gu, Yongin city which has been recently developed as a new town. Out of total 150 copies of survey sheets 142 fully answered copies were adopted as a final analysis data. Considering supply rate and application, sofa and chair of dining table were chosen to refer as western style furniture. As a result, most of the respondents had inconvenience in using western style furniture. Further study on side effects of adopting western style furniture should be followed.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.162-172
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• 2004

Architects and designers of the 20th Century made various efforts to establish new design languages reflecting the changes of society, the times, and environment. They used furniture, especially chairs, as controversial items of aesthetic value, society and ideology. Le Corbusier and Alvar Aalto are furniture designers as well as architects, who adopted this ‘spirit of the times’ actively and have greatly contributed to modernism. This study will help us to understand the diversity of design since modernism, by comparing these two designers' furniture design. It also covers the common factors In modern furniture design, and analyses their individuality and likeness In design. The following is a comparison of furniture design by Le Corbusier and Alvar Aalto. Le Courbusier linked International design and Aalto linked Rational design and Organic concept design to their furniture, just as they did in their architecture. They were able to establish the base of modern furniture design by adapting new concepts and pursuing humanism. In structure, Le Corbusier's furniture Is simple and proportional. It demonstrates a sophisticated geometric composition, mechanical beauty. On the other hand, Aalto rationally linked nature with human requirements and his furniture is organic and in harmony with geometric structure. In function, Le Corbusier's furniture is standardized and prefabricated. He designed for the user so they could choose to use the furniture efficiently to suit their needs. In comparison with Le Corbusier, Aalto Invented the ‘Stacking Chair’ which allows a more effective use of space and reflected the structure of the human body to improve the user's comfort. In materials and techniques, Le Corbusier used new materials like metal or leather, and attempted new ways such as welding, prefabrication, and standardization for production. On the contrary, Alto mainly used birch, which is the traditional material in Finland, and tried new bent wood techniques and joining methods.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.189-199
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• 2012

The interest and expenditure for children is increasing than in the past because the number of nuclear family is growing, the children's space is configured independently in most homes from infancy, therefore, the market of children's furniture is expanding in spite of the reduction in the population of children. There are not many products considering age, gender, and play behavior in children's furniture market in Korea. The bed, desk, chair, and closet for children under 2 years hold a large majority of children's furniture, there are not a lot of preschool children's furniture for the children aged 4 to 7. As the children aged 4 to 7 experience physical, emotional, and cognitive growth at the same time, the space configuration and furniture choice for these children is educationally very important. Therefore, in this study, we present the importance and necessity of playable furniture to promote the physical, social, emotional, linguistic, and cognitive development of the children aged 4 to 7 among preschool children. We found the concept and basic condition of playable furniture to collect the base data for developing playable furniture and provided the basic data for the development of an ideal playable furniture by comparing and analyzing the cases of 157 items of 14 domestic playable furniture companies and 365 items of 30 overseas in aspect of play functions, forms, materials and colors.

• 한국가구학회지
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• 제15권1호
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• pp.53-61
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• 2004

German Baroque and Rococo styles in furniture design show three types because of political and geographical conditions - Northern style from Holland and England, Middle one from France, Southern one from Italy, The German's Baroque style, however, emphasized in practicality and metamorphosed form and material using the motive of plant trunk, flame pattern, and Akanthus leaf. Furniture of German Rococo surrounding space, and chairs two-dimensional curved lines than flower, ribbon, and lattice. style was designed form and color becomingly with were displayed decorations of more pictorial and structural forms, using the pattern of palm tree leaf, clam, flower, ribbon, and lattice.

• 한국실내디자인학회논문집
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• 제7호
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• pp.87-96
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• 1996

In today's man's domestic environments, the development of furnishings in their various shapes and functions is as complex as human lives. Architecture, Interior, and Furniture, each one of these have the relationship closer and closer to the direct human environments. In this study, by choosing the theme of sitting , the transformation of man's behavioral models would be examined in sociological terms. By viewing the chair as an emblematic objects made for more than just sitting, the chair has revealed the relations of man with his environment since the history of furnishings began. Qualified architects and designers know that chairs are no longer the objects, but the primary subject of furnishings. Through this examination of the emblematic typologies of periodic chairs in the history of the Western culture, in terms of their relationships with politics , religions, monarchies, societies, and etc., the meaning of the designs could be find and which could be the resolutions for the future innovative design. These refound or recreated meanings in the history of design could create another typology for the future reality.

• 한국실내디자인학회논문집
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• 제13호
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• pp.249-256
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• 1997

The need of Home-Office is increasing according to the technology and communication system being developed. It is necessary to develop space program and home furniture design for Home-Office. The purpose of this study was to investigate sjpace condition for Home-Office and Home-Office furniture, and to examine preference and opinion on Home-Office. The results this study can be summarized as follows: 1) An isolated space such as a study was the most preferred for Home-Office. The proper size of Home-Office space in residential interior was over 3.3m$\times$3m. 2) The system furniture which is enable to store OA system, and to have efficient work space was preferred. 3) The preferred color of system furniture was natural wood tone, and the most preferred color of chair was blue. 4) It was assumed that the possibility of Home-Office is increased in the new future.

• 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.

• 한국실내디자인학회논문집
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• 제17호
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• pp.136-142
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• 1998

In early 20th Century Neo Art Movement and Fuctionalim in Europe effected to create new tendency as Modern Design and technical development through Industrial Revolution offered technical background to realize Modern Design. All these things were basic to establish 1920s and the concept as Modern Design had been established at this time in field of Architecture and design. Thubular-steel Chair which used industrial material based on social andtechnical circumstance came out as an epochal event and which symbolize Modern Design have enlarged their concept with 1920s European Dwelling Space. According to each tendency arrange characteristics as classifying on the society-cultural spatial plastic technical sides multiple dwelling house and tubular-steel chair for low income brackets have characteristic of (1) the pursuit of social functionalism design for public(socity-cultural characteristics) (2) the pursuit of simplicity based on functionalism (plastic charcteristics) (3) the standardization for mass production (technical characteristc). In conclusion the characteristics of tubular-steel chair which correspond with dwelling space in 1920's is presented a type for relation between furniture and space which correspond with formating in the formative period of Modern-design.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.126-133
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• 2005

Chair design in recent international furniture exhibitions showed that chair products were varied with several elements in simple and basic shapes. Likewise, the project supposedly referred to a group that could be classified as a design with a concept of ranges, and if the design were aimed at mass production, those group concept could be even stronger in the fields of design. Based on many modern and contemporary examples of mass-produced chairs from three Scandinavian countries namely Denmark, Sweden, and Finland, this study was aimed at discovering new points of view, characteristics, and chair design concerning dominant products. The six companies and three artists were selected as this research's samples. The companies have to have more than four kinds of ranges, and they were Fritz Hansen, Bl Station, K llemo, Lammhults, Artek, and Vivero. We have chosen the 3 artists such as Hans J. Wegner, Bruno Mathsson, and Alvar Aalto who have repeatedly used their own motives to reflect their national identities in various works. The method of the research was the analysis of the current situations of chair designs' ranges. The results of the analysis on the product group for each of the six selected companies show the following variables: 1)Formative characteristics 2)Structural characteristics 3)Emotional characteristics. The artists' groups have symbolically expressed personal identities, and consequently, national identities. Finally, the variation in the simple elements of chair design made the identification of product groups ultimately easier, as the expressions and applications of their identities were used within the scope of mass products in various designs.