조명을 활용한 거실가구 디자인에 관한 연구 = (A) Study on the Design of Furniture for Living Room around Reasonable Applications of Lighting

다국어 초록 (Multilingual Abstract)

In the functional level, the living room must be designed to give its users comfort and convenience. To meet this requirement, quality should be ceaselessly improved along with development efforts for new designs including modern design.
Even a finite space of living room can be efficiently used along with multi-purpose furnitures incorporating two or more functions, rather than single-purpose ones.
Such multi-purpose furnitures can make a space flexible along with free indoor arrangement. Moreover, the more the scale of furniture is downsized, the more comfortably and harmoniously can the indoor space become displayed.
Conventional living room furnitures were manufactured with a uniform design by mass production, so that the width of selection was so narrow as much. Moreover, conventional furnitures were not sufficient enough to meet the needs of users in various points.
In addition, the concept of lightings has increasingly turned from one lamp per room as previous toward partial lighting lamps on ceiling, wall, bottom, furniture, etc.
In particular, the lighting plays an essential role as one of interior components. It is a very important item that a furniture designer must know and has very high availability as a design component.
A furniture with reasonable lighting applied may have functional independence even at darkest night and save considerable electric power. For the selection of lighting, various types of lighting were applied beyond simple electric lighting.
This fusion of living room furniture and lighting appliances allows us to acquire sufficient living room space and accordingly feel more spatial efficiency and comfortable environment. In a formative level, such fusion may broaden the scope of appreciation as much and make users to be more familiar with lightings.
By installing independent lighting appliances on each furniture allowing for personal individuality and presentation, this study focused on enabling users to use single lighting on respective furniture without any help of special lightings even at night.
For the general shape, free curved lines were used to implement concise and smooth expression, rather than seemingly hard or solid straight lines. The harmony of black and white may give us a simple, but concise and tidy feeling.
Because the furniture and lighting were originally devised to make our daily lives more convenient and comfortable, it is recommended that follow-up studies should focus on approaching our real daily lives so that we will surely implement more handy and cozy housing culture in the future. Of course, the enhancement and upgrade of our housing culture in compliance with our own emotion require strenuous efforts for research and development of unprecedented goods on the basis of our own traditional life style.
Thus, this study established theoretical backgrounds through literatures and previous dissertations on living room furnitures and lightings. Then, the study sampled, examined and analyzed the data on masterpieces or merchandising furnitures in terms of formativeness along with living room furnitures and lightings under distribution in domestic markets so as to identify resulting problems.
Ultimately, the study presented a series of new furniture designs for living room, which may apply some original aesthetic or visual effects of lightings to living room furnitures based on practicability and formativeness, beyond conventional uniformed design.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구목적 = 1
• 2. 연구범위 및 방법 = 2
• Ⅱ. 본론 = 3
• 1. 거실가구의 이론적 고찰 = 3
• (1) 거실의 기능과 특성 = 3
• (2) 거실가구의 변천 과정 = 5
• (3) 거실가구의 종류와 특성 = 7
• (4) 거실가구 디자인 현황 분석 = 10
• 2. 조명의 이론적 고찰 = 15
• (1) 조명의 기원과 발달 = 15
• (2) 조명의 개념과 계획 = 16
• (3) 조명기구의 스타일 = 18
• (4) 조명기구의 형태와 재료 = 20
• (5) 전구의 종류 및 조명 방법 = 22
• 3. 조명을 활용한 가구디자인 분석 = 28
• (1) 조명을 활용한 가구디자인 사례조사 = 28
• (2) 조명의 활용 방안 = 31
• Ⅲ. 조명을 활용한 가구디자인 제안 = 35
• 1. 디자인 방향 = 35
• 2. 디자인 전개 = 36
• (1) 작품A (淨水) = 36
• (2) 작품B (母情Ⅰ) = 36
• (3) 작품C (母情Ⅱ) = 37
• (4) 작품D (VISIONⅠ) = 38
• (5) 작품E (VISIONⅡ) = 39
• Ⅳ. 결론 = 53
• 참고문헌 = 55
• Abstract = 57