• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.

• Journal of the Korea Furniture Society
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• v.22 no.1
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• pp.42-53
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• 2011

This article aimed at identifying the concept of 'artistic-quality' of furniture and presenting the concept of 'artistic-quality based furniture creation' as the future direction of furniture design. For this, the authors approached to the theoretical background of the concept of artistic-quality, and then examined the prospect of practical application of the concept by analyzing the tendencies in today's art furniture. In this light, 'artistic-quality' of furniture could be understood as a quality that triggers the designer's venturous spirit throughout the process of furniture creation, so that the designer keeps seeking for the novelty and innovation in his experimental design and process. The feature of the current tendencies of art furniture in terms of the expression and effect, which could explain this venturous spirit of artistic-quality based furniture creation, could be summarized as follows; first, High-touch: Furniture that exemplifies the artistic-quality by specific texture of handmade quality, second, High-feeling: Furniture that arouses the new feelings and new concepts of furniture structure & function by experiments on new abstract forms of furniture, and third, High-mentality: Furniture that leads us to the sphere of subtle aesthetic recognition and mentality with its specific poetic expression and sensibility.

• Journal of the Korea Furniture Society
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• v.16 no.2 s.30
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• pp.85-93
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• 2005

There are several way to classify the furniture. The furniture can be classified into use, style, and function, but if the furniture is classified into the way of production, it can be the industrial furniture and the studio furniture. Especially, technology and function of the furniture are important elements in industrial furniture. However, it could be considered artists' character and concept as more important elements in the studio furniture. The studio furniture had come out one of the historical movement in American furniture field after the World War II. This case to apply found objects began to increase after the 1970s. Using objects In furniture design field had built up sprightly after end of 1950s. This expression could be the statement of new expression that essential properties of matter in objects is removed. I try to suggest original and interesting furniture design to apply found objects in this thesis. Especially, I use the Korean traditional objects for the furniture and try to make their essential function to be changed. Also, I focus on furniture design to have formative element in their shapes.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.445-455
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• 2015

Korea furniture industry is the difficulty of producing manpower supply and demand together with rising raw material and are facing severe difficulties as a diversification of consumer needs. It located so close through the International Furniture Fair in China and to identify the status of the domestic furniture industry. It also overlooks want to move forward in the direction. China International Furniture Fair was the head of the leading exchanges for furniture production worldwide. Market demand as households, yet the center is fully equipped with the chance to cooperate with the furniture production. The Shanghai International Furniture Fair was responsible for, such as providing ideas and partners for product development and production paths excavation of korea furniture manufacturers itgetda which can have a significant driving force in overcoming the recession and evaluated through this.

• Journal of the Korea Furniture Society
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• v.28 no.4
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• pp.340-354
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• 2017

Currently, the global furniture market can not overlook environmental problems due to changes in environmental regulations. In order to grow into a global corporation, environmentally friendly design became essential. In addition, domestic and foreign consumers are increasingly interested in and spending on children's furniture, and demand for environment - friendly furniture for children's health and emotional development is increasing. In the era of universal consumer tastes due to massive mass production, it has been changed into a multi-product small-volume production period that reflects the preferences of various consumers, so that various types of furniture that meet individual preferences are required. Therefore, in this study, we investigated various personal opinions, perception, preference, propensity to use furniture, purchasing points, etc. for environmentally friendly children's furniture, and provided basic data for environmentally friendly children's furniture development that reflects consumer preference and requirements. Accordingly, 243 parents who have more than one child living in Seoul, Gyeonggi, and Incheon were surveyed about the use of children's furniture and the perception and preference of environmentally friendly children's furniture. According to the survey results, 64.57% of the respondents knew about eco - friendly children's furniture and the most popular way to get to know eco-friendly furniture was Internet advertising (49.48%). The rate of recognizing eco-friendly furniture as healthy furniture with no emission of hazardous substances was high as 56.16%. The purchase intention of eco-friendly children's furniture was very high at 86.01% and the most important factor in purchasing was the harmlessness to the human body (56.88%). 59.50% said that it is not possible to distinguish environmentally friendly furniture, which means that there is not much information to consumers yet. In addition, the preferred price range is 500~1000 thousand won, and the preference for the rest furniture is high. In the preferred form type, unit type modular furniture is 36.13%, in the material, wood is 72.35%, in the color, the color of wood with wood grain is high as 45.56%.

• Journal of the Korean Home Economics Association
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• v.30 no.2
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• pp.87-95
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• 1992

This study attempts to fix an appropriate quantity of space evaluation, focusing on important furniture room visual environment elements. The major results of the study can be summarized as follows; 1. The degree of satisfaction in the living room is affected by an evaluational factor among factors of space evaluation. 2. In the space estimation for the furniture, the wall furniture is important in the living room because the arragement and occupying proportion of the wall furniture varies widely. 3. In the living room of the APT siza for the common people an appropriate quantity of furniture is classified into 3 types of the occuppying proportion. As the floor occupancy proportion supporting furniture is 13~19%, wall furniture is 10~16% and total furniture which combined both the supporting furniture and the wall furniture is 23~34%. Second, the proportion occupying the wall is 6~9% for the supporing furniture, 9~20% for the wall furniture, and 21~31% for the total furniture. Finaly the proportion occupying the space is 6~9% for the supporting furniture, 9~20% for the wall furniture, and 21~31% for the total furniture. Finaly the proportion occupying the space is 6~9% for the supporting, 6~10% for the wall furniture, and 11~16% for the total furniture.

• Journal of the Korea Furniture Society
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• v.25 no.4
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• pp.277-287
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• 2014

Current Korea furniture market is holding and leading with Hanssem, Livart, and other 10 main furnitures companies. The Hanssem furniture company is the first sales in Korea. And whole sales revenue was over 1 trillion KRW. Recently in Korea furniture market is changing rapidly by announcement of IKEA of expansion to Korea. IKEA is the number one furniture company in north european countries. Also, this company spreads at world widely, 44 countries and 358 shops, with their own marketing plans between lowest prices and developing north european furniture styles. Korean furniture companies are get in dangerous condition, and especially serious problems near Korean furniture company using same market place with IKEA. This research is expecting IKEA's brand power will hitting Korea furniture industries. Therefore, Korea furniture companies and industries need analysis of IKEA furniture, marketing strategy of IKEA, production strategy and other plans must be prepare for expansion of IKEA in Korea.

• 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.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.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.