• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• 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.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.153-161
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• 2004

Organic Modernism was inaugurated by Alvar Valto as an alternative plan to the formative limitation of Geometrical Modernism. It began to appear in the 1930s in the fields of Architecture, Furniture, Product Design and so on. It is known that began with organic formative language is closely related to surrealistic artists Andre Breton as well as other artists and sculptors in that era. Such Formative Language formalized a stream of Organic Modernism Furniture Design unique to the regional and cultural characteristics of Scandinavia. After crossing over to America, mass production of Furniture was born and new materials were linked by industrialization. The Characteristics of Organic Formation in Modern Art such as Three -Dimensional, Biological Morphological, Symbolical, Primitive, Fantastical, Non-Realistic, Incidental, Irregular, transmit to Furniture Design. They are as Characteristics especially with Three-Dimensional, Biological Morphological and Symbolical aspects. Histories of Art and design, there are some examples showing mutual Interchange between Functional and Artistic Character. This thesis also clarifies the Formative Relationship that the Furniture designers who pursued Functionality and Mass Production had obtained from Modern Artistic works and the Artists, through the process of comparing and researching the typical Artists and their works.

• Journal of the Korea Furniture Society
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• v.17 no.1
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• pp.73-81
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• 2006

Since early times, paper has been the leading means of expression in human civilization. Along with the development of languages, people have used paper as their major intermediation measures to flourish the culture. At this point of time when studies in latest design are various and abundant, these fixed ideas on paper should be eliminated first for inventive thinking and freedom of expression. Because breaking the established notion helps to diversify the function of paper. We can see furniture made of paper come in useful to our ancestors in their daily life with the development of "Hanjiquot;. Each piece of paper furniture had its own function and beauty depending on processing method. Not only has been used for materials of basic modeling in the process of modern furniture designing, paper has also been used for the main material for the purpose of a new trial. If we try to find out the ways to take diverse characteristics of paper and develop them, while overcoming the defects of the material, paper has great potentiality for many kinds of use in furniture industry.

• Journal of the Korea Furniture Society
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• v.26 no.1
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• pp.1-11
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• 2015

This study shows how the plastic furniture design has developed in general and by contemporary auteurist designers. Plastic furniture design began with Mies van der Rohe's chairs produced with compression moldings, and was later successfully commercialized by Knoll and Herman Miller. Plastic undoubtedly played a significant role in giving modern furniture design its current status with its suitability for efficient mass-production. However, the expectations consumers have for designers have extended by the widespread internet accessibility along with the higher standards of the well-developed design industry, and now mass-production is no more the only key to appealing to those in need. Based on the information gathered from the process above, analyses were done on the works of various design artists in the current industry, which leads to certain suggestions that would help bring the plastic furniture design to the next level as a whole.

• Journal of the Korea Furniture Society
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• v.23 no.3
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• pp.305-316
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• 2012

This study considered stools not just as a tool for sitting but with their symbolicity as well. Regarding the changes and meanings of general stools and X-stools, this paper studied their images and explanations as well as literatures by quoting as it limited their range from the ancient times till Neo-classicism. In conclusion, the origin of stools exists in consciousness and also the social hierarchy of authority. There still remain the elements of X in any way along with the functions. This proves that furniture has reason for existence even today not just for its functions but something beyond that. Along with the historic flow of X-stools, we should know that there is diversity of thinking in the area of stools. In understanding furniture design or furniture, now is the time to approach to it in various ways, and it is expected that new design can be born through that thinking.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• Journal of the Korea Furniture Society
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• v.18 no.4
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• pp.337-344
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• 2007

This study explored contemporary furniture theory and practice in Postmodernism mentioned as one of a kind furniture based on ideas from the tradition since Modernism. Qualitative conceptual analysis as the principal methodology was used to explore the postmodern furniture adopting or reflecting ornament from the tradition presented as postmodern furniture designers' point of view differently and variously. Thus, the examples about one of a kind or one-off furniture were dealt with Postmodern ideas appeared in the doubt over Modernism, Post-Modern furniture ideas from the traditional and Modern architecture, ornamental ism, Postmodern theorists, Postmodern furniture and the criteria. As a result, although one of a kind furniture design appealed newly from and based on the ornament of the tradition has been identified as new design like one of a kind furniture which shows lack of function, the piece with the meaningful ornament makes people happier in their daily life. Hence, one of a kind furniture, a work of art, has been required as striking a balance both function or comfort and aesthetics or beauty which makes the people more enjoyable.

• Journal of Digital Convergence
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• v.16 no.7
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• pp.393-400
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• 2018

I would like to design a customized furniture for one-person households that have emerged as mainstream in modern society. In particular, I focused on the tendency of generations to improve the quality of life, and wanted to design the aesthetic furniture close to art furniture. To this end, I look at art furniture in domestic and overseas furniture. and present the concept of combined custom design based on current trends. The combined custom design differs from the existing one by creating separate designs for each part and fusing them to enable more diverse and aggressive molding. This is in harmony with the active tendency of one-person households who shows a lot of interest in the quality of life. Especially, it is suitable for small quantity production of various kinds, so it can be produced in the existing craft workshop system, and the two tables can confirm the possibility of the morphological concept according to actual combined custom design.