• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.291-301
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• 2016

As a detailed process for the development of new wooden furniture design that is to be used in elderly group homes, this study measured and analyzed physical and visual durability of joint techniques, one of the essential manufacturing techniques. By selecting a total of 4 joint techniques, an experiment to measure a compressive strength was conducted and targeting a group of 50 elderly people, a survey on visual durability and preference of visual aesthetics was carried on. As a result of closely analyzing the experiment of measuring compressive strength and the preference survey, 'mitre joint technique' was found to be the most suitable in manufacturing wooden furniture and through follow-up studies, the result of this study will be applied in the development of wooden furniture design for elderly group homes.

• Journal of the Korea Furniture Society
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• v.14 no.1
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• pp.23-34
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• 2003

이 논문은 우리 환경의 생태계 보호를 위하여 뉴 디자인 가구가 어떻게 창조되고 있는지를 연구하였다. 즉, 오늘날 포스트 모던 시대에 뉴 디자인 가구 디자이너들이 환경 문제의 해결점의 하나로 새롭고 다른 방향으로 자신들의 가구를 창조할 수 있는가에 관한 담론이다. 우리가 안고 있는 생태계 보호를 위한 가구를 디자인할 때 필요한 재사용 및 재활용이 가능한 재료들, 유행을 초월한 가구, 가구의 견고성, 대량 생산 가구 등이 심각하게 분석되었다. 이 분석에 따르면 뉴 디자인 가구 디자이너들은 재활용된 재료들, 주거 환경 및 지속성, 새로운 가구 미학을 내포한 새로운 가구 디자인 철학을 얻을 수 있었다. 대량 생산된 가구는 경제성 때문에 많은 대중에게 접근되는 좋은 점보다는 우리에게 더 많은 쓰레기 더미를 준다라는 사실이 뉴 디자인 가구 다자이너들에게는 매우 심각한 문제였다. 따라서 가구 디자이너들이 양보다는 질에 중점을 둔 가구를 창조하는 것이 필요하다는 것이다. 결론적으로 환경적 책임을 느낀 뉴 디자인 가구 디자이너들은 튼튼하면서 재활용될 수 있으며 유행을 초월한 기능적이면서도 미적인 가구를 창조할 때만이 뉴 디자인 가구론 구입하는 소비자들이 뉴 디자인 가구를 올바른 방향에서 인식할 수 있을 것이다.

• Journal of the Korea Furniture Society
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• v.26 no.3
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• pp.267-273
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• 2015

This study is a review on the relationship between furniture purchasers and producers in the Joseon period. Understanding the relationships in our traditional spirit and the Joseon furniture that reflects a aesthetic sense is a meaningful work. Joseon was to build an ideal country which put emphasis on the order and harmony through Theory of 'Yeak' as the confucianism nation. Human aesthetics, which emphasis on the spiritual value by confirmity to nature and forcus on the relaxed, deficient personality rather than completeness was established as the central formative consciousness of the Joseon Dynasty. The nature of things in the confucian scholar prior to the representations of things is expressed in the form of master craftsman's skill and soul. Formative consciousness of the confucian scholar is to realize ideals by communciation and interchange with master craftsman's soul in the form of the Joseon furniture. The beauty of restraint and brevity in the Joseon Dynasty furniture includes meanings and procedures of art work. It implies an orderer's purpose of production and a producer's products. Understanding the spirit of times in the production becomes the cornerstone capable of getting closer to the furniture ultimate proper function. These problems have a very close relationship with the problems of modern people's commnuication. We expect an even higher growth of the furniture by achieving more improved communication based on the consumer's great insight and the producer's passion.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.229-241
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• 2012

Kuramata Shiro's design has been evaluated as an unseen type of beauty. He created totally different aesthetics from functional furniture by utilizing glass, acrylic, and expanded steel mesh which usually are inappropriate for making furniture. Kuramata told that his design always starts from zero status. By doing so, he could be free from the existing notion and form of furniture. This means that every function and every form must be based on his own understanding and experiment in order to produce newness. Owing to these efforts, we can regard his design as artworks. Kuramata tried to bring forth formative lines inside contour of furniture rather than to deform only the formal outlines of furniture. These lines are very delicate and sometimes ephemeral. But they establish formal potentiality of phenomenological being of beauty. Also those lines are built from humble industrial material but they open the truth of thing itself and introduce the beauty to field of aletheia. At the same time, transcending limitation of function and use, they leave pure form and temporariness. So, lines become a field of Heideggerian rift which produces embodiment of form. We can appreciate his design through these lines that are relatively thin but vivid enough to follow his original world of art.

• Archives of design research
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• v.11 no.1
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• pp.259-268
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• 1998

Ideals of beauty has expressed variously through the centuries and in different cultures. Each traditional 'togu' has it's own morphology (in the meaning of nonverval linguistic) as using various type of language in each cultural erea. Korean aesthetics on 'dogu'philosophy introduces a whole new set of basic concepts outside western aesthetic framework of beauty Most distinctive is the insistence on overcoming dichotomies, especially between cognition and emotion, (momism)body and mind, self and other, and individual and group. Several topics are particularly illuminating within aesthetics: furniture, calligraphy, traditional garments pose interesting challenging to the art/nature, inside/outside, ethics/desire dichotomies so crucial to moral and cultural context. aesthetics are equally deserving of philosophical scrutiny: the ways in which philosophy of 'dogu'and aesthetics are integrated with daily life, the emphasis on process or understanding context rather than product itself or product 'form'. Dogu did not separate daily life and aesthetics from understanding social context. Language of 'togu' also has own vocabulary and grammar. But we often cannot gain our persnol experience truthful beauty of togu until understand context of understanding. it would be immpossible to explain ,or to analize different way of thinkings and behaivor precisly without understanding same codes of language.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.19-26
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• 2006

This subject is about the research of Shanghai Art Deco in the aspect of architectural decoration and seek to offers an examination and analysis of the characteristics related to the Art Deco design, which appeared and dominated the field of design from 1910s to 1904s in Shanghai. Study method is a theoretical consideration of reference and gathering data through field trip. In order to carry out this subject, this study will research following factors. First, factors related to Art Deco such as the period of origin, background, spirit, aesthetics, design characteristics. This is followed by the influence of Art Deco movement begun in 1925. Second, the background of Shanghai Art Deco architecture style was studied. Third, the case studies of Shanghai Art Deco Architecture and interior decoration were researched by the expressive factors which were divided by style, form, material and color. As a result early style had compradore style about 1900, later reactionism prevailed of 1920 affected by European Art Deco. Skyscraper style was built and architecture developed with racial characteristics. It has vertical and streamline form of typical Art Deco and strengthen geometrical motive in architectural expression. It appeared naturally and has the contrast of different material in material expression. It has effect on strong color as using highborn and brilliant color in color expression. They appeared chinese national spirit by using 'ot painting' in western oriented furniture. The purpose of such an examination is to classify, understand and validate Shanghai artistic and socio-cultural heritage in order to better appreciate the life philosophy of Shanghai and re-discover their basic roots. Though it began as a Western cultural movement, it is the purpose of this study to discover the inherent orientalism in its basic formative spirit.

• Korean Institute of Interior Design Journal
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• no.22
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• pp.92-101
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• 2000

This study aims to inquire into the expressive characters of Shiro Kuramata's works regarding his design languages. His design languages, based on sentimentality and aesthetics characteristic of the orient and his unique memories and experiences, can be defined as nongravitation, fioatation and transparency. And the definition can be completed by his unique extinguishing technique, eliminating the structure with materials without feature, such as glass and acrylic and expanded metal, steel mash and 'Star piece Terrazzo' a material which he has invented. This study examines Shiro Kuramata's design works from the late 1960's to 1991, the year of his death, the background of his growth and the art and people who have influenced him. It also looks into the indigenous cultural background and his unique memories and experiences. The study also considers his furniture works and interior design to read his languages properties of the materials and expressive techniques. The study presents data on Shiro Kuramata and puts forwards the significance of his works and tries to lead the way of the interior design by application techniques of materials.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.