• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.10-25
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• 2012

This article aimed at understanding the characteristics of Swedish furniture design since 1980s in the reference to the major paradigm changes in the contemporary design field. For this, the authors examined the theoretical background of modern and post-modern design paradigms to identify today's design tendencies. And we used this frame in the analysis of the latest examples of Swedish furniture design. The main characteristics of Swedish furniture design since 1980s included 'furniture as art object', 'the succession of the Swedish Modern (neo-modernism)', and 'conscious design for sustainable development'. These could be viewed as the consequences of the choices that the Swedish furniture industry and designers made during the last decade, that was to take plurality and contradiction as the accompanying values of the traditional Swedish modern design.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.103-112
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• 2001

This study explored the background of contemporary furniture design called New Design furniture, which newly expresses the aesthetics of communication in the postmodern era. Qualitative conceptual analysis as the principle methodology was used to explore the background of the decorative and meaningful contemporary furniture in postmodernism. Thereby, the postmodern concepts of Charles Jencks, Robert Venturi, and Michael Graves were analyzed in terms of their postmodern architecture and furniture. As initiatives of postmodern architecture and furniture, Jencks, Venturi, and Graves explored the pluralism and eclecticism, the decoration, the semantics, and the materials reestablished from the traditions of craft. As a result, their furniture was expressed by various wood and color; the furniture was beautiful, decorative, pluralistic, and eclectic for communicating symbol, metaphor, narrative, and/or humor with people; the furniture has influenced the communicative elements on the contemporary furniture design called New Design furniture design, which shows the blurring of fine arts and craft distinctions.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.193-204
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• 2005

Design took a radical turn in the 1980's, deconstructing the rigid ideology of the Modernism, often with great humor. Contemporary representable Avant-garde designers, Philippe Starck and Ron Arad brazenly borrowed from the 'historical elements' of previous styles and created bio-morphic forms with whimsical names of furniture. This study is proposed to understand the diversity of contemporary design, by comparing these two furniture designers. It also covers the common factors in contemporary furniture design, and analyzes their individual differences and similarities in design. It helps to plan the foundation of design methods for 21C, and predict and respond to the future as a reference point. Philippe Starck links Romantic Rationalism within Minimal style and Ron Arad links Deconstructivism within High-tech style but both of them pursue of Organic concept design in their furniture through the concept of humanism. They are able to establish a base of contemporary furniture design by adapting new conceptual form, and design process for the general public.

• Journal of the Korea Furniture Society
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• v.20 no.6
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• pp.543-551
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• 2009

The history repeatedly shows that designers have sought their creative inspiration from fine arts. was also influenced by contemporary art such as surrealism or installment works. This thesis aims to examine the inter-relationship between contemporary art and contemporary furniture design with examples of organic modernism and minimalism furniture design. Also, will be analyzed in light of such interdisciplinary relationship, explaining the significances of in scholastic perspective. The previous research analysis of finding out examples of how fine art and design sought mutual exchanges to develop will help to examine the significance of in the context of art history. This analysis could be used as an important academic material to understand the origin and characteristics of modern design furniture. The features of surrealism and minimalism will be discussed in light of their influences on and interactive relationship with organic modernism furniture design. This provides important basic material to further analyze . Furthermore, the artistic language and plastic features of contemporary sculptors and installment artists such as Jean Arp, Richard Serra and Anish Kapoor will be examined to show how integrated and combined main features of those artists. extracted cognitive and phenomenological aspects from Serra's works that overwhelm viewers with their massive scales. Somewhat abstract yet somewhat primitive and dynamic features of Arp's works was also referred to . are made of FRP, composed of three partitions and six stools. This work was analyzed in aspect of form, composition and function. They have organic and flexible formations with free composition availability which endow free disassemble and arrangement. Also, they have cognitive features as of small elements are freely dispersed upon spaces to bestow certain presences. Based on this, this thesis could develop scholastic researches that examine the mutual and interactive relationship between contemporary art and furniture design with much more detailed discussions and examples.

• Journal of the Korea Furniture Society
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• v.17 no.2
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• pp.69-79
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• 2006

German furniture design had been downward in trend after Bauhaus closed and through the War. Meanwhile Italy emerged as a center in furniture industry after the Second World War. After the Unification in 1989, however, German furniture still play predominant role in the world since they have their own unique quality and territory. This study explores the significance of German furniture design by three different eras-Post-war recession (1946-1965), Arising times (1966-1989), Contemporary (1990-2005)-and categorized the major characteristics are summarized as in the below. First, function oriented design Second, pursuing perfection of technology Third, simplicity and purity of design.

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.1-14
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• 2013

Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture embellished with traditional hand-craft, Art furniture featured the individualistic avant-guard characteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.

• Journal of the Korea Furniture Society
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• v.14 no.2
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• pp.63-74
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• 2003

This study explored roles of the ornament in contemporary furniture that contemporary furniture designers make their furniture different, convey a metaphorical message, and competitive. Contemporary furniture involved in the ornament is decorative, beautiful, and characterized by craftsmanship through eclecticism and pluralism reestablished in furniture design in the postmodern era. Also, the ornament has been presented in the context of the blurring of art/craft distinctions. Thus, the contemporary furniture is called as art furniture/craft furniture which is diverse from minimal decoration to maximal decoration. Hence, by using all of the ornamental context, the furniture designers try to satisfy and communicate with the largest possible number of people, and have numerous opportunities to select according to their characteristics or taste. Finally, their furniture in the futuristic mode may be cross-cultural work that everybody in the earth can understand, enjoy, and appreciate in his/her daily space through his/her everyday use.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.104-111
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• 2014

Design is one of those elements to create an artificial environment, improving human life. It also signifies some concrete work and plan for better life in the present environment, and it is even believed to be an act of consideration for the sake of human beings. This consideration design would be included to design which deals not only with truths and values being demanded in a new era but also with various users, and it is design that attaches values to behaviors of the users, searching for new values while studying user-centered behaviors. It is regarded as a part of the consideration design in that it is able to make plans and extract design factors using affordance while it helps any users to use as considering the user-centered behaviors. Design factors of such affordance has been inherited and developed from the Bauhaus principle, and the spirit of Bauhaus is believed to have a great influence on contemporary furniture design while being a matrix of modern design. A follow-up study will look into backgrounds and cases of social design, one of those consideration design factors, while proposing directions on how to develop contemporary furniture design.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.113-124
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• 2001

This study explored the characteristics of contemporary furniture called New Design furniture design in terms of aesthetics of communication in the postmodern era. Qualitative conceptural analysis as the principal methodology was used to explore the characteristics of New Design furniture, which is accessible to the broadest possible public. Thereby, the communicative elements of symbol, metaphor, narrative, animation, imagination, humor, and/or wit expressed in New Design furniture were analyzed according to the designers'concept and work. As a result the postmodern aesthetics of communication made New Design furniture accessible to the largest number of People through cultural considerations in New Design furniture as it influences designers 'concept and work. However, it showed problems of New Design furniture in connection with postmodern aesthetics affecting mass production. Therefore, the designers have begun rethinking, redefining, and redesigning their furniture aesthetically, functionally, economically, and ecologically.