• 한국가구학회지
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• 제26권2호
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• pp.171-178
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• 2015

Furniture is very important in our lives. Especially traditional wood furniture of Korea has been developed practically in the area of form, compositions, manufacturing technique and etc because of the rapid environmental changes. Jang Sung has a very efficient geographical characters to get the adequate timbers for furniture. And the late Mr Seol SeokCheol had devoted all his life to out-and-out artisan spirit for the purpose of korean wood furniture manufacturing. In this paper, l try to explain regional and cultural characteristics of JS, special designs for wood furniture of JS, manufacturing process of traditional wood furniture, especially in the center of his works. Tradition is an essential power to a country and a race. Now we are living living in the state-of-art age and we share all the cultures and merchandise globally but nevertheless, a nation and a race who has a unique tradition is still a cultural advanced country and these works of our ancestors are the best souvenir for the tourists. So we have to memorize these facts and we will have to raise and develop our power of traditional cultures, including from the traditional wood furniture.

• 대한공업교육학회지
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• 제38권1호
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• pp.259-274
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• 2013

19세기 이후에 문화의 개념은 좋고 나쁨의 차별적 개념이 아니라, 한 집단의 삶의 방식이 다른 것과 구별되는 행동 양식으로 사용되었다. 이러한 문화는 이미 우리 생활에 깊숙이 배어있으며, 목가구도 생활이고 문화이다. 이 논문에서는 조선 시대 전통 목가구에는 선조들의 어떤 문화가 스며들어 있는지 탐구하고 하였다. 따라서 이 논문의 목적은 우리나라 전통 목가구에 스며있는 문화적 함의를 탐구하는데 있으며, 구체적인 내용에 해당하는 연구 질문은 다음과 같다. 1) 가옥 구조 문화가 전통 목가구에 어떻게 반영되었는가? 2) 실내 공간 문화가 전통 목가구에 어떻게 투영되었는가? 3) 생활 양식 문화가 전통 목가구에 어떻게 투영되었는가? 4) 오늘날의 현대 생활 문화와 전통 목가구는 어떤 조화를 이루고 있는가? 이 연구의 목적을 달성하기 위하여 조선시대 목가구와 관련된 문헌 자료를 집중 탐구하였으며, 중요무형문화재 소목장의 면담을 통해 자료를 수집하였다. 이 연구의 결론은 다음과 같다. 첫째, 가옥 구조 문화의 측면에서, 좁은 실내 공간을 최대한 활용하기 위하여 목가구를 벽에 붙이고, 눈높이 맞는 가구를 만들어 전면 조형의 미를 추구하였다. 둘째, 온돌 문화의 측면에서, 낮은 가구들을 벽에 붙여 사용하였으며, 열과 습도의 대류 현상을 반영하여 가구의 다리는 풍혈구조로 반영되어 독특한 구조를 하고 있다. 셋째, 생활양식 문화의 측면에서, 평좌식 문화의 영향으로 안방의 모든 가구는 앉아있는 눈높이에 맞추어 그 크기와 높이와 비례로 짜여져 있고, 좌식형으로 정면이 시야에 들어오는 상자형 가구로 반영되었다. 또한 목가구의 장식에 사용되는 문양은 자연물과 수복강령을 기원하는 형태이며, 마감에 자연미를 극대화하여 표현되었다. 마지막으로, 현대 생활 문화의 측면에서, 전통 목가구를 어느 공간이나 장소에 두더라도 옆에 놓여 있는 가구를 억누르거나 하지 않고, 본래 그 자리에 있었던 것처럼 존재감을 드러내어 조화를 이루고 있다.

• 한국실내디자인학회논문집
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• 제17권3호
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• pp.94-101
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• 2008

The purpose of this study was to analyze the preference of living room furniture and to suggest Korean brand furniture design guideline. Subjects consisted of 171 residents aged up 20 years old in Seoul and Kyung-ki. area. The data were analyzed using the SPSS statistical package. The results of descriptive statistics, factor analysis, t-test and $x^2$-test are presented. The result of this study showed as fallows; 1) Livingroom funiture design with considering family life behavior were needed. 2) Modernizing traditional elements(motives and pattern) were preferred to duplicating traditional elements. 3) In furniture materials, easy to maintaining and cleaning and environmentally-sound materials as solid wood were highly appraised. Also, functional and harmonious furniture design with interior or other furniture were needed. So, modular-system furniture for livingroom would fulfill user's needs which are function, harmony and conciseness. 4) Elegant, easy, unique, functional, and simple design for livingroom were highly appraised. Considering these results, it is necessary to develop more on the modernized traditional furniture based on the various needs of users. These results provide a practical guideline for the development of the Korean brand design for livingroom furniture design.

• 한국가구학회지
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• 제12권1호
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• pp.143-150
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• 2001

This paper aimed to suggest a new model of fusion furniture design which fits with our surroundings of today. This was performed by grasp and evaluation of recent trend of fusion culture in Korea in order to apply it to the furniture design of fusion style. Fusion furniture design was tried and applied to the table showing unique characteristics of Korea traditional small dining table with modern touch. The result of this paper could also contribute to distribute the unique characteristics and beauty of Korean traditional furniture in the World.

• 한국가구학회지
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• 제24권2호
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• pp.113-120
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• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 한국가구학회지
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• 제22권4호
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• pp.245-251
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• 2011

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 대한가정학회지
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• 제25권1호
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• pp.69-82
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• 1987

The purpose of this study was to investigate the degree of discrimination and current usage of traditional furniture by people in contemporary society. Interest and preference for traditional furniture were also examined. The major findings were; 1) The traditional furniture owned by respondents were mainly document chest(mungab), dining table(soban) and open etagre(sabang-takja). Book cases(chaikjang) were rarely owned. Function of some furniture such as single shelf chest(danchung-jang), kitchen cabinet(chantak) and desk(suban) have been changed. 2) Highly discriminated tiradtional furniture were document chest(mungab), wardrobe(chest-jang) and dining table(soban). The degree of discrimination of letter rack(gobi), kitchen cabinet(chantak) and bookcases(chaikjang), however, were very low. 3) There was significant relation between discriminating ability and interest for the furniture and the status of posession of it. 4) Some socio-demographic variables were related to distriminating ability of the furniture. The group in high educational and economic level showed high discriminating ability of the furniture than those in lower levels. 5) These was positive correlation between discriminating ability and interest. The more interest, the higher discriminating ability. 6) Most preferred traditional furniture at present were three shelved clothing chest(samchung-jang), document chest(mungab), wardrobe chest(euiguri-jang) and open etagere(sabang-takja).

• 한국가구학회지
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• 제11권1호
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• pp.91-104
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• 2000

Today's world situation which is changing rapidly has affected conditions of furniture industries in Korea. Apart from the governmental assistance, companies are seeking for their own way to strengthen competitiveness in the international market by using the cultural identity as value added of their products. Accordingly, this study presents a furniture design process which refers to the identity of Korean furniture based on characteristics of it's traditional style. Also it could show the way to innovate quality of export furniture products.

• 한국가구학회지
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• 제20권4호
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• pp.326-338
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• 2009

This study aimed at developing tea furniture with beauty of traditional Korean furniture. As the population which drinks tea increases day by day in the light of LOHAS (Lifestyles of Health and Sustainability) era, the importance of the tea culture has been brought out and the interest of the pieces has increased with the cultural space. But the study is still not only insufficient for Korean tea cultural space, it is but also hard for us to find such pieces as holding the original culture's charm. Thus, after studying concepts and spatial qualities of the tea cultural space based on the traditional culture and after investigating the tea objects including the integral parts, a piece of tea shelf with table which hits the emotion of Korea necessary to tea cultural space was created with solid wood. As a result, if we rediscover and develop the tea pieces with beauty of traditional Korean furniture mentioned as the green furniture, the objects will be standing on tiptoe as contemporary tea pieces conveying the identity of Korea. In addition, they will have a competitiveness across the world pursuing LOHAS beyond well-being.

• 한국가구학회지
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• 제22권2호
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• pp.101-111
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• 2011

The intention is to explore the differentiation or evolution of the chest of drawers in traditional Korean, Western, and Japanese furniture in order to know how the drawers currently becoming popular in Korea were developed historically. The Korean furniture centered in $Jang$, $Nong$, and $Bandazi$ used in the tradition generally, the Western furniture involved in drawers, and the Japanese furniture called $Tansu$ in Japanese called the chest of drawers were focused on the study because the Western and Japanese drawers affected the development of the chest of drawers in Korean furniture during the late 19th century and the Japanese Ruling Era, respectively. As a result, the Korean furniture was not shown the chest of drawers but only small drawers that store small items located in the upper part of $Jang$, $Nong$, and $Bandazi$ mostly used as wardrobe, while the traditional Japanese furniture developed from Edo period (1607-1868) had showed a wide variety of chest of drawers like $Isho-dansu$, $Mizuya-dansu$, $Kusuri-dansu$, $Cho-dansu$, $Funa-dansu$, $Kaidan-dansu$, $Nagamochi-dansu$, $Kuruma-dansu$, and so on, for specialized storage. And in the traditional Western furniture were presented the chest like a large-box form, mule chest, chest of drawers, cabinet, commode, highboy, tallboy, wardrobe, secretary drawer and bureau with document drawer invented and evolved throughout the 15th-18th century. Therefore, the chest of drawers in contemporary Korean furniture is supposed to adopt the Japanese and Western drawer form and to ensure the continual production from the obvious utility of the design with decoration for our current everyday lives.