• Archives of design research
• /
• v.13
• /
• pp.235-255
• /
• 1996

The world-view of a period or a society refers to the way it conceives of the order and governing principles of the universe. The ad and outcome of the crealive process of a designer reflect his or her world-view or value system. Contemporary students of design seem to find the traditional approach to art based upon the Euclidean logic rather redudive and confining and are trying to develop a new way of thinking and methodology, a new frame of reference. In this study, I am offering the chaos- and fractal theory, concepts drawn from science, as a new anchoring point for design. This approach makes use of the concept of chaos as the basis of a new, open system that enables a designer to find and generate numerous visual possibilities immanent in chaos. Likewise. fractal geometry is offering new concepts and vocabularies for the study of physical universe and design thinking, as well as bridging the gap between science and art. The number of structural possibilities fractal theory generates for environmental design seems to be virtually unlimiLl'd. In fine. this study places a great emphasis on the new approaches t() the environment we inhabit. which I hope will contribute to generating a greater number of creative possibililil:s for environmental design.

• Archives of design research
• /
• v.18 no.4 s.62
• /
• pp.225-236
• /
• 2005

As a fresh trial using humorous items to escape from economic recession and uncertain state of mind regarding politics and society, fun is emerging as a keyword in design area. This study classified various use of fun reflected in modern fashion design according to the theme, and analyzed the mod of expression to identify formative characteristics. Through these processes, this study built conceptual structure of fun in fashion design. 412 fashion designs which represent fun were collected from 2001 $S/S{\sim}2005$ F/W collections. Data were analyzed and categorized. Results showed that the theme of fun in the modern fashion design could be classified into humor, kidult, irony, satire/parody, storytelling, and play. The design elements mainly used were color silhouette, letter, object, and drawing, while the design principles were distortion/exaggeration, incongruity, and repetition. In addition, these expressions were related to the traditional humor theory: incongruity-resolution, superior, and relief theories. The fun in modern fashion design has such value as affirmation, warmness, entertainment, youth, contradiction, surprise, deviate, allusion, attack, and description, Finally, in regard to the subject, the fun provides active experience like play as well as passive acceptance.

• Archives of design research
• /
• v.16 no.4
• /
• pp.323-334
• /
• 2003

This study examines the multi-functionality of the cultural facilities and explores the architectural characteristics of cultural facilities in city environment. For this purpose, 1 examine the major cultural facilities in USA and Singapore. Recently, the inter-cultural communication methods have been diversified and the cultural facilities need to be designed to effectively accommodate the public's interests in these activities. It is also necessary to reexamine cultural facilities' functions in terms of how the multi-functionality facilities reflect the surrounding environment. This study also sheds a new light on the meaning of the relationships between cultural activity, and the cultural facility design. For this, I primarily look at the various design categories of cultural buildings and their main functions. Finally, I demonstrate how both cultural activity and cultural facility design elements are embodied in the city environment.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.4
• /
• pp.291-297
• /
• 2021

The current formal and memorized design repetition training and practice is wandering in the uniform flat design thinking expression. To change these two-dimensional current issues into a three-dimensional design method, set the direction for each grade level under the integrated convergence educational goal and carry out projects step by step to understand design, the principle of spatial composition, the introduction of traditional design history, and the overall design of craft design. Creative and practical skills such as approach should be cultivated. Designers can only be produced through systematic education and training. In order to lead society and succeed, a designer who has experienced solutions and countermeasures on how to adapt themselves to the demands of various changes in the times must come to the field. Education experts insisted on innovation of the organizational structure and subject of the education system, and emphasized the importance of education in response to the rapid pace of change in the 21st century. This study aims to propose an educational system that combines academic research with a structural approach to tasks by setting a project that reflects the needs of society for convergence practice in which design and adjacent disciplines are linked through understanding and analysis of these issues.

• Archives of design research
• /
• v.18 no.4 s.62
• /
• pp.95-104
• /
• 2005

The purpose of this study is to estimate the determinants of product design and analyze the impacts of product design on quality competitiveness, product reliability, and consumer satisfaction in an attempt to provide a foundation for the theory of design management. For this empirical analysis, this study has derived the relevant measurement variables from a survey on 400 Korean manufacturing firms during the period of $August{\sim}October$ 2003. The empirical findings are summarized as follows: First, the determinants of product design are very significantly (at p<0.001) estimated to be the R&D capability, the level of R&D expenditure, the level of innovative activities(5S, TQM, 6Sigma, QC, etc.). This empirical result can support Pawar and Driva(1999)'s two principles by which the performance of product design and product development can be simultaneously evaluated in the context of CE(concurrent engineering) of NPD(newly product development) activities. Second, the hypothesis on the causality: product design${\rightarrow}$quality competitiveness${\rightarrow}$customer satisfaction${\rightarrow}$customer loyalty is very significantly (at p<0.001) accepted. This implies that product design positively affects consumer satisfaction, not directly but indirectly, by influencing quality competitiveness. This empirical result of this study can also support the studies of for example Flynn et al.(1994), Ahire et at.(1996), Afire and Dreyfus(2000) which conclude that design management is a significant determinant of product quality. The aforementioned empirical results are important in the following sense: the empirical result that quality competitiveness plays a bridging role between product design and consumer satisfaction can reconcile the traditional debate between QFD(quality function development) approach asserted by product developers and conjoint analysis maintained by marketers. The first empirical result is related to QFD approach whereas the second empirical result is related to conjoint analysis. At the same time, the empirical results of this study can support the rationale of design integration(DI) of Ettlie(1997), i.e., the coordination of the timing and substance of product development activities performed by the various disciplines and organizational functions of a product's life cycle. Finally, the policy implication (at the corporate level) from the empirical results is that successful design management(DM) requires not only the support of top management but also the removal of communication barriers, (i.e. the adoption of cross-functional teams) so that concurrent engineering(CE), the simultaneous development of product and process designs can assure product development speed, design quality, and market success.

• Archives of design research
• /
• v.15 no.4
• /
• pp.379-390
• /
• 2002

Science Revolution, which stands for new paradigm in an era as a transfer, usually is accompanied with a change in intellectual sphere. Futhermore, as there is an indissoluble connection between science and an, so the correlation of two realm lead to mutual prosperity in coexistence. Recently, concerns for the phenomena of non-linear dynamics in science and its quick adaptation in art made .it possible. What is important agenda for science and art is to suggest the process of creative evolution and its method, I believe. In order to attain these, different and contra way of thinking, spirit of research and venture for unpredictable things out of daily routine should be indispensible. In this study, I am offering and reviewing the space design based upon phenomena of nonlinear dynamics, drawn from concept of chaos in physics and mathematics. This study places a great emphasis on nonlinearity which should be understood as a whole, not partially, that enable a designer to find new cosmos and principles of creation. In addition to these, I wish that a designer would stop trying partial apply in nonlinear space. In fine, I hope this study enables a designer to adapt and generate nonlinearity as creative attribute in space by understanding of phenomena of nonlinear dynamics and its process as a whole.

• Smart Media Journal
• /
• v.5 no.4
• /
• pp.103-110
• /
• 2016

This study aims to establish the standards to give the design weight in case when developing equipment designs, by classifying products with similar purposes in accordance with the morphological characteristics and also extracting the typicality. Limiting the sampling group for the extraction of the typicality to a pendant-type and a ceiling buried-type through the preceding case study and consultation with experts, the survey was conducted for majors and relevant workers in six cities, sampling products released in Korea and Japan before May 2016. The 1st survey was about the Morphological classification, and the 2nd times about the extraction of the typicality while the 3rd one was about the classification of the morphological attributes. By drawing the design attributes based on the functional/morphological classification and formative principles, it aimed to establish the base of the future research on the measurement of design weight. The results of this study aim to efficiently establish the roles of design technology in accordance with changes in the lighting fixture market caused by the substitution of light sources, and also to draw the development direction to rapidly cope with the accelerated changes in lighting design types and corporate R&D.

• Archives of design research
• /
• v.21
• /
• pp.29-38
• /
• 1997

DTP is an innovation of publishing arts act up to the social environmental change followed by the development of the computer and using a word processer. which makes us more convenient and economical. beside. consumer's various desires for design. DTP is getting more practical owing to convenience and economization. but. There is a limit on creativity by the typical working environment. Especially. A convenient tool environment has reduced the field of creativity on account of its consistency with only solving design problems. Result of study. The tool environment has rapidly improved in working environment and process compared with the handwork editing in the past. Particularly. Accidental creations caused by the computer program probably could narrow down the idea world with consistency which is expressed as a pleasure creation. Therefore. A design idea and process should be examined sufficiently by idea sketch before using a computer for original editing. And. As editorial design is based on the aesthetic formative principles. there should be not only how to operate by the tool but also a basic editing design instruction sufficiently for the electronic page design.

• Science of Emotion and Sensibility
• /
• v.12 no.1
• /
• pp.97-108
• /
• 2009

In the process of product design, shaping is the process of making a substantive existence, and ultimately it generates the outcome. The process of shaping is generally led by designer's initiative work, and in this process, various formative elements are used to generate the outcome. In this research, the basic purposes are to figure out the differences of elements which generated by the differences of consumer's and designer's view in the process of shaping of the product, and the characteristics of the affective responses caused by those differences. Also, it will examine how the consumers can directly participate in the process of the shaping of the consumer-participated product, and the feasible guidelines of design in which consumers' needs can be reflected more efficiently to the process of shaping. As a result, consumers and designers have certain degree of difference of view-point about the formative element of the shape. The difference was due to subjective common ideas of design in case of designers, and in case of consumers, it was due to their immature visual understanding. There is another experiment of affective response about the shape of the product. First, I established the sensible image vocabulary based on the shape of the product. And based on the vocabulary, I carried out the same experiments to the consumers and designers.

• 한국HCI학회:학술대회논문집
• /
• 2006.02b
• /
• pp.9-13
• /
• 2006

본 연구는 HD 복합TV 사용자의 시청행태 및 사용자 니즈 분석을 통해 사용자 시나리오를 도출하여 실제 제품에 적용할 수 있는 DTV 인터페이스 디자인의 일반적인 원리를 발견하고 대형 DTV 화면에 적합한 OSD디자인을 개발하여 디지털 복합 TV에 적합한 새로운 디자인 가이드라인을 제안하는 것을 그 목적으로 하고 있다. 이를 위해 DTV 시청환경을 기반으로 PVR, EPF, 녹화, 1394 등 다양한 기능에 대한 사용 시나리오를 정의하고 유저 내비게이션 특성을 반영한 OSD디자인 방향을 검토하였고 개발환경인 50인치 PDP 화면에 적합한 레이아웃을 제작하여 사용자조사를 통해 검증하였다. 사례연구로 최근 이슈가 되고 있는 타임머신 기능 X Canvas PDP의 OSD 디자인을 개발하여 양산용 제품에 적용할 수 있었다. 대표적인 특징으로 복합 TV 의 Gateway 인 홈메뉴, PVR 기능의 핵심인 프로그래스바, 모든 컨텐츠에 일관되게 적용할 수 있는 목록화면, 녹화관련화면에 공통적으로 적용할 수 있도록 폰트,칼라,레이아웃,위젯 정의를 수행하여 각 기능별 화면들이 Package개념으로 Identity를 갖추면서 사용하기 편리하도록 구성하였다. 그리고 이를 통하여 DTV Application Design에 일반적으로 적용할 수 있는 메뉴구조 및 화면디자인 가이드라인을 도출하였고 세계최초로 자사에서 개발한 하드디스크 내장 HD TV Application GUI 의 사용성 및 심미성 측면을 모두 만족시키는 등 DTV GUI 분야에서 주목할 만한 성과를 거두었다.