• Journal of the Korea Furniture Society
• /
• v.12 no.1
• /
• pp.81-89
• /
• 2001

Scandinavian countries have hold tradition shared historically and culturally in common, brought the weighty traditional thoughts enabled to develop their unique culture. Since 1940s, Scandinavian design could pervade with affectionate forms and practical effectiveness with worldwide popularity. It was brought by creation of new and useful forms for the convenience in life, functionalism but not bounded by fashion of it. This study tried into the meaning of their history of modern furnishings design based on the development background of furnishings design, its trends, designers and their work focused around Sweden, Finland, and Denmark. Scandinavian furnishings is a functional furnishings reconciled to natural material and human life exactly correspond to the taste of the generation unrestricted from the tradition of contemporary and compact design preference or classic favored preference. The practicality and exquisite techniques of Scandinavian furnishings lies within the realm of possibility for studiously love of the world.

• Journal of the Korea Furniture Society
• /
• v.14 no.1
• /
• pp.91-102
• /
• 2003

Modern design background of Scandinavia counts the Industrial Revolution and functionalism of Deustscher Werkbund and Bauhaus. However, Scandinavian has created their characteristic 'Scandinavian Modern Furniture' as an adaptation to their environment which are organic form based on their nature, affection of natural material, and handicraft tradition. Finish architect Alvar Aalto and Danish architect Arne Jacobsen rendered great contribution to worldwide reputation of Scandinavian furniture design. Both of them have hold tradition shared historically and culturally in common, brought the weighty traditional thoughts enable to develope their unique design. Especially they had continuous experiment of wood shaping and renovation of manufacturing technique so that they could made their chair design -the laminated bentwoods chair and moulded plywood chair- functionally comfortable. In point of view, the purpose of this study is to analyze the characteristics of the chair design of Alvar Aalto and Arne Jacobsen, focusing un their bentwoods chair. For this purpose, the background of bentwoods chair design was investigated and in the philosophical, formative, and technical aspect, their bentwoods chair design were compared and analyzed.

• The Journal of the Korea Contents Association
• /
• v.20 no.4
• /
• pp.138-150
• /
• 2020

This study links the concept and implications of the anthropocene to the humanistic functionalism of Scandinavian design. Since the Industrial Revolution, the direction of modern design has been centered on the standardization of mechanical products and functionalism aimed at standardization. This is based on the human-centered dual idea of human and nature. But Scandinavian countries have developed humanistic functionalist designs, with exceptions emphasizing human organic relationships to nature instead of dual thinking. This is believed to be in line with the anthropocene discourse, which envisions the emergence of a new level of humanity and the regeneration of the natural environment under the banner of equality for all species on Earth. In this paper, the discussion was embodied in a way that combines the wide range of anthropocene discourses with the major issues of posthuman and postnature, which are the latest human and natural views. And we have selected and analyzed examples of modern Scandinavian designs focused on the circulatory potential of materials, and have sought the direction of trends suitable for the anthropocene era.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.4 no.2
• /
• pp.139-161
• /
• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Korean Institute of Interior Design Journal
• /
• v.14 no.1
• /
• pp.126-133
• /
• 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.

• Korean Institute of Interior Design Journal
• /
• no.17
• /
• pp.157-165
• /
• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• Archives of design research
• /
• v.11
• /
• pp.1-9
• /
• 1995

Scandinavian design has special meaning in design history. Especially the Swedish designers have developed elegant and humane design style by combining the functionalism originated in Germany in the beginning of 20th century with their own crafts tradition. Now 'Swedish Modern' or 'Swedish Grace' is regarded as the most preferrable style for modern industrial society. American design as well as European design has been much changed under the influence of this democratic, simple and beautiful style. To find out the essential qualities of Swedish design style, I want to investigate the history of modern Swedish design and the design mechanism in Swedish corporates. Also I want to introduce the design education system in Sweden, which has contributed to developing contemporary Swedish design philosophy.

• Korean Institute of Interior Design Journal
• /
• v.21 no.6
• /
• pp.92-99
• /
• 2012

The Norwegian architect, Sverre Fehn who was born in 1924 and died in 2009 designed various buildings in his country. Since he studied architecture, he had been interested in the domestic/local architectural environment as well as international modern movement such as CIAM. Pavilion of the Nordic Nations designed in 1960s gave him world reputation for the peculiar design characteristic in which Scandinavian tradition and modern design were integrated. Fehn introduced his unique architectural philosophy that is called 'Platform Architecture'. This concept is based on the Fehn's long-term interest in the philosophy of Genius Loci and place-specificity. It consists of three theoretical elements: Tectonic of Place, Horizontality of Space and Visual-Perception by Light. This paper focuses on three case projects: Villa Busk in 1990, Norwegian Glacier Museum in 1991, Aukrust Museum in 1993. It is aimed to discover differences as well as similarities of the projects, and ultimately to summarize the cases under the light of 'Platform Architecture'. As a conclusion, it is found that each case project has unique spatializing method to organize the given place and program by 'Platform' architectural design. 'Platform Architecture' is still relevant in the contemporary architecture and interior design because of its deep consideration on place, environment and human.

• The Research Journal of the Costume Culture
• /
• v.14 no.5
• /
• pp.828-839
• /
• 2006

These days, by the accelerated developments of science and industries and the menaces of war and terror, humans have come to have instinct to recur and nostalgia to nature and thereby many art works and designs with natural objectives have begun to be produced. Also the design in 21st century requires creative products based on cultural speciality of the countries. As the examples, we may easily find the images of the countries from visual expressions or products when we get in touch with the products of so called advanced countries in design i. e. U.S.A. Japan, Germany, France, Italy, countries of Scandinavian peninsular. This study, in such stream of the times, was to express our culture's own originality on clothing design with butterfly that is one of natural thing as the material but limited the boundary to realistic butterflies in folk drawings of the times of Chosun. As for the technique of expression, used digital textile printing for best expression of the fine lines, realistic shapes and peculiar colors of the butterflies in Chosun folk drawings and used diverse materials as materials for printing for diversity of the designs. Thereby this thesis is purposed to grope the products with superior competitiveness in the world market by presenting the realistic butterflies in Chosun folk drawings as motives with cultural value native to Korea and applying them to clothing designs.

• Korean Institute of Interior Design Journal
• /
• v.21 no.3
• /
• pp.3-10
• /
• 2012

Vilhelm Wohlert is the Danish architect who designed Louisiana Museum of Modern Art near Copenhagen. Because of Louisiana Museum's popularity, Vilhelm Wohlert's name was started to be aware since 1990s. Although he is a well-known architect in Denmark, unfortunately his name is unknown in other countries. He designed various design projects from small scale furniture design to large scale museum and public projects. There are three programmatic categories in his architecture: exhibition programs including Louisiana Museum, residential program including private houses, and public programs including churches and schools. This thesis focuses on his residential design projects. Even though he designed a multi-family houses, Wohlert's house design consists of mainly one-off large private houses located in a nice natural environment. In chapter 3, the general history of his house projects was studied. Among them, the first exhibition house for Forum was explained more deeply to show Wohlert's early house design philosophy. In chapter 4, three built house projects were analyzed in detail. Analytical diagrams were used to show the key elements in the residential space. They are program composition, circulation, spatialization elements, final construction. His buildings have been compared with Alvar Aalto, Frank Lloyd Wright, and other Scandinavian architects. But there are some major differences that make Wohlert's design unique. In chapter 5, the case analysis results were summarized together to highlight the specific design characteristics found in Wohlert's residential design process. The universal spatial quality found in his residential projects can be applied in contemporary spatial designs.