• Journal of the Korea Furniture Society
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• v.13 no.1
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• pp.49-59
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• 2002

The studio furniture movement that expanded in the United States after the Second World War was truly American creation representing highly sophisticated individualism versus industrial anonymity. The studio furniture movement can be traced back to the 1930s in terms of its influences and emergences. Based on the ideals of Arts and Crafts movements from the earlier decades, studio furniture movement emerged in the 1950s in reaction to Bauhaus inspired industrially produced furniture. Studio furniture has represented an alternative for people who wanted individual objects in their homes rather than industrially produced products. Opposed to plastics and industrial materials, artists in studio furniture mainly focused on one natural material, emphasizing its singular beauty. There were significant roles and influences of craft education along with Scandinavian influences in terms of spreading out the movement. A historical examination of furniture from the 1930s until the 1960s illustrates how this significant movement began in the mid-century.

• Journal of the Korea Furniture Society
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• v.29 no.1
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• pp.24-30
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• 2018

George Nakashima (1905-1990) is a second-generation Japanese American who was one of the pioneers of the American Studio Furniture movement. Known for the use of natural timber shape of furniture design, Nakashima's furniture shows the aesthetic characteristics of Japan, which distinguishes it from the furniture of other American studio designers. But Nakashima has been regarded as simply a studio furniture designer, designing furniture that takes its natural form. Therefore, research is needed from a more diverse point of view, and the process of interpreting the cultural backgrounds of a designer becoming a design may be an important subject of study. Thus, this study attempts to interpret the hierarchy of design cultures belonging to a studio designer and to identify cultural characteristics that are not apparent. Therefore, through a process of studying from visible to invisible levels of cultural hierarchy, the study analyzed the aesthetic characteristics of the Nakashima's furniture, his personal experience of Japanese culture, and philosophical background.

• Journal of the Korea Furniture Society
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• v.22 no.1
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• pp.1-12
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• 2011

Recently, the studio which is urban housing form is rapidly growing up by new residential space according to increasing 1~2 person households form because of Modern members who have changing patterns of life and diversification of social values. The resident of the studio who lives or uses the space for a work such as students, office worker and soho-jok has various characters by a society nature changes and a regional peculiarity. The studio form and function is getting change according to variety trend changes and their life styles. The role and use of residential space also have variety such as the resident who lives in the studio. This study is to find the space utilization for them and reasonable housing solution in that structure, furniture and Wall Storage System of existing studio which is based on the common life patterns. The study's purpose is to propose the furniture design of changeable Wall Storage System according to the analysis.

• Journal of the Korea Furniture Society
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• v.16 no.2 s.30
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• pp.85-93
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• 2005

There are several way to classify the furniture. The furniture can be classified into use, style, and function, but if the furniture is classified into the way of production, it can be the industrial furniture and the studio furniture. Especially, technology and function of the furniture are important elements in industrial furniture. However, it could be considered artists' character and concept as more important elements in the studio furniture. The studio furniture had come out one of the historical movement in American furniture field after the World War II. This case to apply found objects began to increase after the 1970s. Using objects In furniture design field had built up sprightly after end of 1950s. This expression could be the statement of new expression that essential properties of matter in objects is removed. I try to suggest original and interesting furniture design to apply found objects in this thesis. Especially, I use the Korean traditional objects for the furniture and try to make their essential function to be changed. Also, I focus on furniture design to have formative element in their shapes.

• Journal of the Korea Furniture Society
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• v.14 no.2
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• pp.53-61
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• 2003

Wharton Esherick (1887-1970) is the pioneer of the Studio Furniture movement which was emerging after the Second World War in the United States. As Esherick began to work on his studio at Paoli, Pennsylvania from 1926, he became enormously influential in the Stuido Furniture movement until his death in 1972. He was connecting the English Arts and Crafts ideal to the post-war craft revival. As the work of William Morris did, in the period of consumerism Esherick's furniture gave a chance to purchase unique furniture to people who wanted a different taste. Not only his furniture is unique and hand-crafted also has sculptural quality which made his followers to see furniture as a different possibilities. His work was influential to the people who followed him after the war such as Arthur Carpenter, Wendell Castle, and Sam Maloof. In the roots of the craft revival, it is hard to underestimate the contribution of Esherick's notion of sculptural furniture.

• Journal of the Korea Furniture Society
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• v.15 no.2
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• Journal of the Korea Furniture Society
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• v.19 no.4
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• pp.243-251
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• 2008

This study explored the theoretical context of postmodern aesthetics in experiencing art/craft/handmade/studio furniture for 'wood culture experience class' or 'wood love experience class', which has been recently carried out by the Korea Forest Service and is apt to focus on making simple wood work just involved in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. I developed the lesson for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the lesson, I explored that students in elementary schools personally understand and define the postmodern aesthetics of New Design furniture as metaphor. As a result, the students will be able to define and identify New Design furniture as metaphor in their lives.

• Journal of the Korea Furniture Society
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• v.20 no.3
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• pp.205-212
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• 2009

Through this study, I explored a creation of the postmodern furniture aesthetics through the transformation by student's interpretation in experiencing the art/craft/handmade/studio furniture aesthetics in postmodernism theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. Following the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor and the lesson two on interpreting an aesthetics of art and everyday life with the wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism in the previous papers, I developed lesson three on creating an object using eco-friendly materials like wood in transforming an aesthetics of postmodern furniture as the final stage of the study. Therefore, the students will be able to create a piece of eco-friendly wood furniture for our environment as metaphor transformed by his/her perspective regarding a piece of selected New Design furniture.

• Journal of the Korea Furniture Society
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• v.19 no.6
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• pp.498-506
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• 2008

This study explored interpretation of the symbolical and metaphorical aesthetics in experiencing art/craft/handmade/studio furniture theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. After the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor in the previous paper, I developed lesson two for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the second lesson, I explored that students in elementary schools personally transform and interpret the postmodern aesthetics of New Design furniture metaphorically with the meanings of symbol. As a result, the students will be able to write about the aesthetics of New Design furniture as metaphor in interpretation transformed by his/her perspective of a piece of selected New Design furniture.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.280-290
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• 2016

In design education enhancement of design methodology and creativity can be stimulated through taking on several creative roles within an interactive and enjoyable studio course. To overcome blocks to creativity I developed a intermediate course, 'Furniture Design Studio I' at the sophomore advanced level course. Inventive thinking and a sense of aesthetic are the essential element for all studnets to grow as a professional designer. And to develop their creative thinking skill I introduced a system that utilizes each element into a role-playing type of projects. Students will be able to demonstrate their underlying creativity in a more open environment. Instead of stressing to solve a lot of complicate issues, the main focus is to allow freedom of expression and creativity. Role-playing are executed in a design studio environment rather than in a psychodrama situation. There are two different type of role-playing : Inventor and Designist (Designer + Artist). Students will be able to work in groups, incorporate problem solving into their projects and concentrate on more personal creative form developments. Through this process, students will enhance their problem solving abilities and broaden their scope for innovation. Thus increases the student's participation and creativity. Investigating the problems of domestic design education through these sort of special programs and developing systems that enhance creativity based on the results and the process methods.