• Korean Institute of Interior Design Journal
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• no.41
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• pp.198-205
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• 2003

In this multi-cultural era, the cultural identity of each nation has appeared as a major issue, and needs to clearly define it through comparisons with other cultures have been raised. This research aims to analyze characteristics of traditional furniture of Korea and China according to residential culture and to find out their similarities and dissimilarities. ‘Banga’ in Korea ‘Sahapwon’ in China in the same era were selected for the comparison for traditional furniture between Korea and China. In the part of comparative analysis, characteristics of the furnitures are summerized based on classification into spatial system of housings and types of furniture. After that, traditional residential cultural differences between two countries that reflected on characteristics of furniture are distinguished and compared. The result of analysis is expected to act a part role of defining the cultural identity of Korea.

• Journal of the Korea Furniture Society
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• v.21 no.2
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• pp.196-204
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• 2010

This study focuses on wardrobes to examine how the terms have been changed by comparing traditional Korean furniture in Chosun Dynasty and contemporary furniture since the traditional furniture terms and forms have been changed like our life culture. For chests and wardrobes, approximately 26 terms were used in Chosun Dynasty. However, only five of them are currently used for top panels, hinges, drawers, mirrors, and columns. For bedroom cabinets, 27 terms are used and 4 of them are changed with the same meaning. The change of the terminology results from the life culture mostly. While the Chosun Dynasty furniture terms were mostly presented as the Korean and Chinese language, in the contemporary furniture ones Korean and Chinese together with English are used. The English terms' usage results from hardwares imported from overseas. The terms derived from the three different languages are presented not only in the wardrobes but also other pieces generally.

• Journal of the Korea Furniture Society
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• v.24 no.3
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• pp.217-225
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• 2013

The furniture of the Joseon era, life sense of human forms a culture has appeared well. Feeling of life refers to the sense of feel natural to the history and traditional culture of the area and their own customs. Further, it is possible to be a sense that reflects the mental contents ego, ethical and religious. Furniture traditional and sophisticated sense like this is to take care of the sophistication that comes out from the inside than the beauty artificial as a function of the sense and user preferences. This is a feeling of unique Korean. Due to changes in the housing, the beauty of these illustrates the altered form mechanically a uniform in modern times. Have that desired to be manufactured furniture by applying the neck Korean furniture of our living environment that will change in Western Europe of today, with the tradition of the modern lifestyle.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.3-11
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• 2006

Our residential architecture and furniture have developed their unique formative characteristics under the influence of the natural environment as well as under socio-cultural influence. In order to understand such characteristics of our residential architecture and furniture, we need to clarify similarities and differences through comparative study from various perspectives. The present study purposed to examine the effects of mutual relations among Yangban's residential architecture and their furniture in the Chosun Dynasty on their formative characteristics, to identify the formative characteristics of shapes, materials, colors, patterns and decorations found in the residential architecture and their furniture, and to make a comparative analysis of the formative characteristics of the residential buildings and their furniture. This research will provide a ground for reinterpreting our culture and help to apply Korean culture identity to today's interior and furniture design.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.409-420
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• 2015

This study intends to explore a teaching philosophy of a Master, a joiner, a cabinet maker, Byeung-Soo Kim who has devoted his entire life on creating and making traditional Korean wood furniture since the elementary school. His teaching method is to make his learners skillful by learning how to make traditional Korean furniture with the traditional technique or joint handmade. They are able to create the furniture in passing through some levels such as a beginning, a middle, a high, and a special class for three years. Each level suggests that the students should study its own joints from laminating, dado, butt, dovetail, mitered, mortise-and-tenon, rabbet, tongue-and-groove and so on. The teaching method is very unique as the technique different and difficult to fine it from other education processes throughout the country.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.102-110
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• 1997

We have lost our true characteristics without being grown and development of our traditional beauty in state of drawing into a whirlpool as the environment of western cultrue. So, to be existed for self-sown capability of our traditional culture, we'll have to keep up with the unique and creative Korean traditional furniture design through the synchloization between 'Traditionalism in our already westernized life' and 'Korean identity in our already westernized life' and 'Korean identity in worldwide culture' based on independent position by correct view of worth, as for the escape from attitude of receive on western culture in recklessnese. Hereupon, first of all, after reviewof fornuclation backround and characteristics in traditional furniture to be established by an ancestor, based on this and extract the conceptual language, it was presented past published works as for the approaching method toward physical form aspect by use of pattern of modern access method. Secondly, it was the symbolic approaching from method based on traditional and cultural context. Gradually, the embodiment of traditional image, in today's features of our furniture loosing the particular cultural identify is very important aspect, and beside above mentioned two methods, it should be investigated as for the diversified approaching study. Thereafter, we'll have to establish the positionof our modern furniture in global wordwide, for seek the beauty being interrelated form past historical communications, under the circumstance of original and future-oriented value.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.29-34
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• 2007

Purpose of this paper is find the similarity and dissimilarity of Korean, Chinese and Japanese traditional furnitures for storage. Also this paper tries to have a comparative analysis on life style, characteristics of housing space and furniture's form of three countries. The study can be summarized as follows. First, space scale and seat levels of three countries are related to furniture's height and form, so that Chinese furniture have over scale than human, and Japanese furniture have the type of box for stacking. Second, the way of heating and materials of floors are concerned with the type of furniture's legs. Third, even if these dissimilarities, the aesthetic characteristics of three countries furniture would be a data base for making design identity of East Asian modern housing furniture.

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

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.389-399
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• 2013

This study focuses a comparison of Korean and Western Furniture culture on traditional cupboard terms to make the people understand and distinguish the form of the various Korean and Western cupboard made by the craftsmanship before the industrial Revolution. As the result, the Korean cupboard shows Kangwon Chanjang/cupboard, Gyeonggi Chanjang/cupboard by the local name, dwiju Chanjang/cupboard, three-tiered Chanjang/cupboard, four-tired Chanjang/cupboard, two-tiered Chantak/cupboard, three-tiered Chantak/cupboard in the terms of the form. Korean cupboards are called Chanjang and Chantak. The Western cupboard shows cupboard, buffet, livery cupboard, cupboard-bed, corner cupboard, court cupboard, turkey-breast cupboard, pot cupboard, press, press cupboard, hall cupboard, sideboard, hunt sideboard, huntboard, cabinet, corner cabinet, writing cabinet, art cabinet, china cabinet, dresser, safe, meat safe, wall closet, wall cupboard, hanging corner cupboard, food cupboard in the terms of the various forms.

• Journal of the Korea Furniture Society
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• v.28 no.3
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• pp.145-155
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• 2017

This study explores developing a piece of modularized and multi-useful bed adapting PyeongSang followed by the last issue, 'a study on traditional Korean furniture, PyeongSang I' for the understanding of the furniture from theory and history. Adopted From the joints and ornament, the modularized elements were designed and developed in order to compose the head board, the side board, the foot board, and the seat bottom. The joints are sambang miter, samae miter, dado, and mortise and tenon, which are strong in holding the bed. And the ornament is lattice patterns like geokjamun and manjamun, elephant eyes patterns like ansangmun from the traditional furniture. Using the elements, the bed is composed with six modules which make people free and easy to move and transform them. Hence, the bed is multi-useful by using the double, the twin the single, and various sofas by the way to display them such as two, three, four, five, and six modules. And the bed was made of bright zelkova tree and dark heat treated ash expressing contrast of black and white, the design concept modern and easy to make many people access to them.