• 한국가구학회지
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• 제22권4호
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• pp.252-264
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• 2011

This research is regarding color-analyzing Italian children's furniture and display space, in which application method of furniture display is looked at by understanding relations of furniture and display space through theoretical consideration and by understanding each factor of composition. Moreover, it establishes a formality of scientific and systematic standard in the color scheme of furniture and display space through using NCS Color System and the related Color Harmony Theory of Ostwald and Faber Birren as analysis tools. In the process of analyzing the colors of furniture and display space, I aimed to comprehend color trend of Italian children's furniture display space by comparing and analyzing Italian children's furniture dealers. I was able to comprehend the color relationship between furniture and display space from the results of analysis of examples of children's furniture display space and analysis of color deviation. Therefore, with this research I suggest the primary data and application strategy from a systematic point of view through Color Harmony Theory in color scheme of children's furniture display space in contemporary Italy.

• 디자인학연구
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• 18호
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• pp.99-110
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• 1996

이태리 가구산업의 특성을 파악하기 위해서는 가구 산업의 인프라(INFRA)적 측면, 즉 환경 적 측면에 대한 분석이 무엇보다 중요하리라 생각한다. 가구산업의 지역적 조건과 상황, 혈연중심의 중소기업의 구조, 기술혁신과 생산성 향상에 심혈을 기울이는 생산자들의 역할, 유통 및 생산현황 등과 같은 조건들이 환경 적 특성을 이해하는데 중요한 요인으로 파악된다. 이러한 산업구조의 제반 여건 하에 건축가들의 디자인 활동으로 다양한 디자인 언어가 공존하는 문화가 형성되어 있는 점 또한 이태리 가구산업의 특성으로 간주할 수 있다. 이에 이태리 가구산업의 특성과 발전배경을 본보기로 하여 국내가구산업의 발전에 시금석이 되고자 한다.

• 디자인학연구
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• 제14권1호
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• pp.119-134
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• 2001

이탈리아의 디자인은 자유분방하고 유미주의(唯美主義)와 예술지향적 성향이 강하다고 할 수 있으며 지리조건, 민족성, 문화에 바탕을 둔 그들만의 특징을 양식화 시켰다. 2차 세계대전 이후 이탈리아 건축가들은 전후의 국가재건과 국제시장에서 경쟁력 있는 제품을 창출하려는 노력을 아끼지 않았다. 이탈리아의 가구디자인은 타고난 자원부족을 극복하고자 새로운 소재에 특유의 창조력을 바탕으로 심미적 요소를 가미하였으며 기업이 능력 있는 디자이너를 발굴하고 적극적으로 디자인을 개발하는 등, 가구산업에 특별한 노력을 기울인 결과 오늘날 유수의 가구산업국가로 발돋움할 수 있었다. 이는 모든 분야에서 문제를 인식하고 체계적인 지원을 아끼지 않은 결과라고 볼 수 있다. 본 연구는 이탈리아 가구디자인 발전에 영향을 미친 요인을 분석하고 이러한 요소들이 각 시대별로 이탈리아의 시대적 배경과 결합하면서 어떠한 특성으로 나타났는지 분석하고자 한다. 또한 이탈리아 디자인의 발전과정과 전략을 분석함으로써 우리 나라가 지니고 있는 지리조건, 민족성, 문화 등과 산업여건을 가구디자인 발전에 접목시킬 수 있는 체계적인 관점을 제시하고자 한다.

• 한국가구학회지
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• 제14권1호
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• pp.47-58
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• 2003

Italian furniture companies play a leading role in the world furniture market and are acknowledged as good design trend leader. Their craftsmanship which has been handed down from the past is thoroughly applied to the process of design and production. Two well-known furniture companies in Italy, 'B&B Italia' and 'Kartell', are chosen as a case study model to grasp the key of their success. In general and objective material collecting and researching, this study aims at understanding the method of the advanced corporations' design development, marketing strategy and brand identity This study is expected to use as a research material for Korean furniture industry to escape from the serious depression after IMF shock.

• 한국가구학회지
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• 제26권4호
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• pp.364-372
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• 2015

Mendini works architect of magazine. He is a era-transcending designer who started design in late fifties and still works actively. In his design, there are some ordinary emotions which make people easier to approch to than without having any resistance. The purpose of this research paper is to define the traits of Mendini's design work. There are four main characters in his design; post-modernism, combination of art and design, use of contemporary art and traditionary italian colors and redesign. Mendini interpret tradition in modern way. His individuality came from the tradition, and also he modernized italian tradition to it.

• 한국가구학회지
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• 제24권2호
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• pp.121-130
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• 2013

Nature and technology are very popular themes in the everydayness of modern world. In our industrial age which is based on technology nature becomes an lost origin and basic environment. On the other hand, technology is conceived as future hope and realistic environment. Through 1960s they had been transformed as signs and connoted into furniture design. As signs, they structured environment, organized space, and bred their own aesthetics. In this context, Danish designer Verner Panton presented nature as experiential landscape and Italian designer Joe Colombo expressed technology as amusing machine. What they showed were not real but sign of nature and machine. Nonetheless they were successful to create aesthetic atmosphere and meaningful projects. Also they showed the potentiality that furniture design might include discoursive issues and values. They also extended functional interesting between furniture and body to cultural domain of social viewpoint in behavioral pattern.

• 한국가구학회지
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• 제21권2호
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• pp.111-125
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• 2010

The furniture industry in Korea is characterized by its 42.6% of concentration in Gyeonggi Metropolitan area. When taking a look at the representative furniture complexes including Maseok, Ilsan, and Eojeong, the furniture complexes and stores were spontaneously generated at the outskirts of a city whose land cost is relatively cheap. As a consequence, they tend to be jumbled up and face to be moved or contracted forcefully owing to the new town development plan of Metropolitan areas. In contrast, Italia that is one of the advanced country in furniture industry, cultivates and develops furniture complexes in Brianza district by supporting them oriented in the metropolis Milano while hosting large-scale furniture exhibitions. Such attempts have advanced the position of the italian furniture industry into the most leading figure. In this extent, the furniture industry in Korea that is a traditional industry of Gyeonggi Province has to device a political measure and systematic measure for its cultivation as a way to secure the foundation to develop a high value-added product and foster its competitiveness. Such movements are suggested for the development of the furniture industry in Gyeonggi Province.

• 한국가구학회지
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• 제15권2호
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• pp.31-39
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• 2004

The works of Alessandro Mendini doing a big role in Italian design give us fresh impetus and the message on future design. His work activity has created new space and given the second life with arranging radical and fresh visual ornaments by using various materials. His design works have been challenged on fixed and ordinary thought. He applies gorgeous and plain natural colors. When he develops idea into the form, his works hold meditation and clear subjectivity. Alessandro Mendini makes us aware that his work of arts connects human spirit with thing.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.270-277
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• 2007

Postmodern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by postmodern furniture designers from the 1960s throughout postmodern era. This study is Intended to explore the way of incorporating Art Deco in postmodern furniture design. Rational Italian designers in Anti-design Movement began to adapt historical motifs and Pop, and this spread out throughout to other Postmodern designers. The research explored how Art Deco and postmodern design are related and what the examples of Art Deco revival in the postmodern era we. In this sense the research mainly covered from the exhibition catalogs from the 1960s to 1990s. As a result of stylistic, symbolic, methodological analysis, Art Deco revival in postmodern era was an essential method to express anti-modern characteristics of postmodernism. In postmodern design, Art Deco was one of historical styles that surpass the limitation o( modernism, at the same time decorative style that express the postmodern ideal.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.