• Journal of the Korea Furniture Society
• /
• v.19 no.1
• /
• pp.11-21
• /
• 2008

For ages, Furniture, it has been improved for human aesthetic needs as well as human life as a tool. In the 1960s, it's the age of an ideological conflict. And its war made the hippie-culture come out. And, it was economically bountiful. The epoch-making development of the scientific technology made the result of space development, conquering the moon in the first of the mankind. Made the appearance of the Anti-design against the modern design which was the also, it traditional values and the mainstream. The plastic has merits, low-priced, light, being perfectly able to do mass production of the all kind of shapes' furniture with all-desired colors. It was the wonderful material for the expression of the short-life character, the irony, the kitsch, and an intentional decoration to being chased by anti-design. And the result, the plastic furniture in the people's daily-life has well represented with reflecting the mind of the people in that age.

• Journal of the Korea Furniture Society
• /
• v.27 no.1
• /
• pp.35-42
• /
• 2016

With radical increase in one-person households, the consumption market in Korea has also rapidly changed. In line with this movement, customized furniture for sing lecustomershas been recently introduced. Since sleeping more than eight hours a day is needed to maintain a healthy lifestyle, a suitable bed for a comfortable sleep is an essential product for single consumers. In order to respond to this trend, a study was conducted to examine the surface materials of a bed designed for singles. A complete enumeration survey was implemented for beds manufactured by ACEBED Co., Ltd., Simmons-k, Co, Ltd,. Keumsung Bed, Hanssem Co,. Ltd., Hyundai Livart Co,. Ltd,. Emons Furniture Co,. Ltd,. and Borneo International Furniture Co., Ltd. This study helped in the proper selection of surface materials that may be used in the development of furniture for single consumers.

• Korean Institute of Interior Design Journal
• /
• v.17 no.1
• /
• pp.162-169
• /
• 2008

Philippe Starck is a famous french designer known for his creative works in all aspects of life from architectural space to product design. Especially, in regard to furniture, he designed more than 250 works with various design characteristics. This study therefore aims to examinate the characteristics of furniture designed by Philippe Starck through assessment of his design background and philosophy, evaluation of fifty or so of his works in terms of their function, form, material, and emotions, and lastly through a chronological analysis. As a result from this study, following various results are drawn as design characteristic through forty six representative cases: 1) possibility of fabrication and transformation 2) multi-function or optional function for user 3) pursuit of simplicity using the characteristic of singular material or mono block and immateriality 4) emotional approach in design 5) non-design method such as use of archetype or historical form.

• Journal of the Korean Home Economics Association
• /
• v.27 no.2
• /
• pp.97-114
• /
• 1989

The purpose of this study is to analyze style and usage of furniture for rural house and to organize the changing process of the furniture. The data were collected from 32 residences in Samga 3-ri village in Youngin Kyungkido by field survey measuring and sketching the furniture were also performed as a supplement of investigation. Qualitative analysis were done by discriptive method. 1) It was found that the major furniture for rural household were storing furniture such as wardrobes, blanket chests, drawer chests, cupboards until 1976. The time when the supportive furniture such as sofa sets and dining sets were purchased on the rural area was after late 1970's. 2) The style of the furniture was investigated through the analysis of the size, material, structure, finishing and ornamentation. The changing process of style was from luxurious look to natural look. Therefore the storing furniture of the rural household showed a state of transition between traditional and modern style. 3) As a result of analyzing the place where the furniture were used, the cupboards showed to move from Marus (the living room area) to Buauks (the kitchens). The wardrobes were mainly used in An-Bangs(the master bedrooms) and Kuhnnun-Bangs(the room opposite the master bedrooms), but the style of those wardrobes were different each other.

• Journal of the Korea Furniture Society
• /
• v.19 no.5
• /
• pp.319-327
• /
• 2008

As art of lamination by plywood got to be generally used, it became a suitable material for expressing live curves that were not able to be expressed on wood furniture made of plank and timber, as well as, openwork deep in curved space, heavy quality of material, and changing contour line-looking wave lines with different process angles. As an alternative, it would be good to build a full scale model, since it would provide practice in form-building and it would also provide a chance to correct the form. Less material can be used and reduce the cutting process by Properly trimming models made of soft formal structure such as Styrofoam Iso-pink and adhesive Styrofoam, and separating the layers and using them on shape cutting of plywood with the same thickness. And by attaching the model veneer that was used in shape cutting of the model and using it as a cutting guide, we can reduce the error of work and successively build the planned form. Since this study is about the need of a full scale model for a laminated wood model and an efficient process, this study concentrates more on process.

• Journal of the Korea Furniture Society
• /
• v.22 no.3
• /
• pp.174-182
• /
• 2011

Over the last decade, Sick Building Syndrome has become a significant social issue in Korea and many methods have been considered to maintain comfortable indoor air quality. To reduce toxic substances emitted from wood composite products, the source control is an efficient method through the reduction of formaldehyde content by using natural material-based adhesives for composite wood products production. Among alternative materials, soybean protein is considered an appropriate natural material to replace formaldehyde-based resin and many efforts have been made to produce new products, such as soap, shampoo, ink, resin, adhesive and textile through changing the chemical or physical properties of soybean. To process soybeans into these useful products, the beans are dehulled and the oil is removed by crushing at very high pressure or by solvent extraction. For use soybean as an adhesive, it is processed at temperatures below $70^{\circ}C$ to preserve the alkaline solubility of the proteins. In addition, soybean-based adhesive is undergone treatment process to improve mechanical properties using urea, urease inhibitor N-(n-butyl) thiophosphoric triamide and sodium dodecyl sulfate. The modified soybean-based adhesive exhibited sufficient mechanical properties to use as an adhesive for composite wood products. This paper is a review article to discuss the possibilities of soybean-based adhesive for environment-friendly furniture materials.

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

• Journal of the Korea Furniture Society
• /
• v.27 no.1
• /
• pp.15-25
• /
• 2016

Increasing concerns of environment need to make change furniture field to more environmentally friendly approach, such as reuse of by-products from wooden products. As it is, the methods of recycling wood for industrial purposes have the advantage of productivity and adaptability. However, the industrial way is required a certain production facility of processing wooden by-products and has possible hygienic problems due to contaminated sources. Many designers have developed their own methods for reuse of wood in unique and artistic ways. Even so, because of confined sources, it could be not enough supply. Therefore, I developed the design methodology utilizing wooden by-products from S Design Company to relieve former ways' problems. The design suggestion took materials from a safe and abundant source. The wooden leftover pieces were connected together with epoxy clay, so previous process traces of furniture are remained as a decorative factor. Moreover, the synthesized material was able to be processed by ordinary woodworking facilities without additional installations. In doing so, console table focused on a commercial purpose and dining table for an artistic objective were successfully fabricated as final suggestions. In consideration of the proposal using wooden furniture leftovers, diverse recycling designs should be investigated for future reference.

• Korean Institute of Interior Design Journal
• /
• v.16 no.2 s.61
• /
• pp.287-294
• /
• 2007

[ $K\ddot{o}ln$ ] IMM (International Mobel Messe Koln) is traditionally one of the advanced Exhibitions with International Expo of Furniture in Milan. IMM is not only the furniture exhibition but also well known international event that shows novel idea and the newest trend of interior design field. This event displays from the traditional style reaches to the newest trend, and also presents the world various Interior design spectrum with the forecast of interior design industry. This study analyze out the trend of the nm in year 2004, 2005 and 2006. It analyzed each year's design with form, material, color and general feature. Thus, it suggests demanding and persistent design of modern society, This chart shows the characteristics of the furniture design from 2004 to 2006 Result of the study shows that the trend of the furniture design would be process with the relationship of simple design, multi-cultural character, and practical paradigm.

• Korean Institute of Interior Design Journal
• /
• v.22 no.1
• /
• pp.183-193
• /
• 2013

The study aimed to find the fundamental differences of aesthetics in Korea, China, and Japan by analyzing expressive features and structural meanings of the storage furniture from $17^{th}$ to $19^{th}$ century. The study was performed in four steps; analysis of expressive features, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results showed that three countries had linear shapes with curvilinear elements, closed forms with open spaces, natural material hues with change of tone or color, and symmetrical forms with asymmetrical patterns and structures in common. Korea comparatively accented on the natural material colors and wood grains. China stressed on the big and wide faces using three-dimensional carving. Japan accented on the linear elements with strong color contrast and decorative metal fixtures. These features were caused by the traditional thoughts and according aesthetic principles. Korea and China were affected by the Confucianism focused on establishing the order of rank. Meanwhile, Japan was more influenced by the Buddhism emphasized on the individuality and communication. Therefore, the differences of the expressive features in furniture among the three countries were inevitable consequences of the different ideologies.