• Proceedings of the Korea Society of Design Studies Conference
• /
• 1999.10a
• /
• pp.88-89
• /
• 1999

오늘날 $\ulcorner$장식적 의미$\lrcorner$ 로서 사물의 성격을 표현하는 디자인 경향이 있다. 가끔 열악한 제조환경이나 기술적 빈곤은 장식의 과다현상으로 나타난다. 하지만 장식은 단순히 디자인자체를 꾸미기 위해 이용되기보다는 재료나 기능에 관련된 의미나 구조로부터 발생되어 진다. 그래서 사물에 적합한 재료와 기능을 반영시킴으로서 디자인의 시작이 가능해 진다. (중략)

• Archives of design research
• /
• v.17 no.3
• /
• pp.5-16
• /
• 2004

The wide range of understanding to the culture is very important in design practice, because all the design can't be avoided effect of different culture. Viewpoint of this, cultural meaning and background of design are studied in this paper. First of all, a few problems are suggested to the purpose and necessity of the paper. On the basis of this, three conceptual meanings of design culture are searched through studying with cultural meaning of design, design as living culture and design for human begins. Also, on the same basis, three compositive backgrounds of design culture are researched through studying with change of spatio-temporal design, search for the original design and criteria on the aesthetic design. Finally, another study is tried to find out how to understand design value and to create more valuable design which is variously existed under the different cultural background and social situation.

• Journal of Digital Convergence
• /
• v.19 no.8
• /
• pp.301-310
• /
• 2021

The purpose of the study was to induce meaning of the UX design from users' interview. The study covers interviews from 20 untact finance application users in their twenties in written form. It aims to examine previous studies on UX design and to overcome their shortcomings by categorizing usability qualities focusing on verbs used in the interview. The followings are the result: Usability of UX design can be summarized into Unity, Trust, Persistency, Recognition and Approachability of the information to the 20 users in their twenties. As for the data earned from interviews focusing on verbs, usability included Security, Familiarity, Accessibility, Convenience of Operation and Visibility. Each of the qualities fell into related categories such as Security, Information, Brand and Design. In conclusion, analysis based on verb choices led to better understanding of the user-based experience compared to using objective means in previous studies and can be a suggestion to make up for errors in the former evaluation process.

• Journal of the KSME
• /
• v.55 no.8
• /
• pp.32-35
• /
• 2015

디자인-기술 융합 R&D는 디자이너 주도의 R&D를 의미하는 것이 아니라 사용자 중심의 사고에 의한 R&D를 의미하며 엔지니어를 포함한 R&D 프로젝트 조직 구성원 모두의 적극적인 디자인적 사고에 의한 아이디어 전개와 기술정보 공유에 의해 이뤄져야 한다.

• Archives of design research
• /
• v.19 no.4 s.66
• /
• pp.5-16
• /
• 2006

This research premises that design failure in the market can stem partially from the gap between designer's communication intension through design and consumer's signification for design. Therefore, it's necessary that designers should examine and understand consumer's signification process for design factors or overall design images that they consider in the design process. For this, this research suggests that understanding consumer's signification process is possible by performing value categorization, consumer segmentation, value identification of main target consumers and relationship examination between value of target consumers and design attributes based on Means-End model by reviewing various theoretical backgrounds. In addition, this research suggests contents and methods for performing each step of understanding consumer's signification process. Also, Laddering was suggested as a method for the study and a case study was performed by it. Finally this research claims that understanding consumer's signification process can be one of the methods that decrease failure possibility rather increase success possibility of design in the market.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 1999.10a
• /
• pp.12-13
• /
• 1999

디자인은 디자이너와 소비자간에 사회의 공적 영역을 배경으로 한 일종의 커뮤니케이션 모델이라고 할 수 있다. 커뮤니케이션은 일반적 의미와 구체적 의미로 나누어 냉각해 볼 수 있다. 일반적 의미는 "한 사람이 다른 사람에게 메시지를 전달하는 것”으로 정의할 수 있다. (중략)

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2007.05a
• /
• pp.91-94
• /
• 2007

현대의 디자인에서 가장 주목할 특징은 Convergence, 즉 융합적 사고 전개이며 그 외적형식이 감성디자인이다. 즉 감성의 지표인 니즈를 통하여 디지인 기획단계에서부터 최종 소비까지 사용자의 감성을 고려한 총체적 메카니즘을 말한다. 따라서 감성디자인은 감성에 대한 연구가 필수적이다. 그럼에도 불구하고 감성에 대한 기존의 연구에서, 감성은 직관적이지만 모호한 것이었다. 그러나 학제간의 연구성과에 힘입어 감성은 이성의 상반적 개념으로 지각, 쾌감과 감정을 외연으로 갖으면서 인간지성을 매개하는 심의의 능력인 것이다. 이때 감성은 니즈의 통계학적 분석에 의한 평균값이 아니라 기호해석의 구조적 강제성에 의하여 보편성을 획득하게 되어 실천적 행위로써 디자인 프로세스를 거쳐 다시 감성의 출발지인 소비자에로 이행하는 순환적 고리를 형성하게 된다. 이것인 감성디자인의 의미전달의 구조이다.

• Archives of design research
• /
• v.12 no.4
• /
• pp.305-315
• /
• 1999

Most people react emotionally and are impressed for natural seen such as act, paint, sculpture, music, science, discovery, act include movie, opera. For empathy, people should make efforts feeling about sense from watching by themselves. Usually we are looking for meaning from art and intend to relate wth the content of music, drama, paint, and movie. The trend of statical order in modern design is strong in this time. However, we need to research the motive order for progressive design. And also, designer who want to give motive order to something must need to study motive order in design. This thesis explains the way of effective approach so that designer can apply the thinking such like bring in emotion. Also this research introduces the way of thinking to do progressive imagination and try to research through case study.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2000.11a
• /
• pp.52-53
• /
• 2000

인간의 역사가 시작된 이후로, 살고 있는 환경에 의미를 부여하는 일은 자연스러운 행위이었다. 고대 그리스신화가 고스란히 스며있는 신들의 집이라 할 수 있는 아크로 폴리스로부터 현대의 팝아트적 테마파크에 이르기까지 인간의 환경은 의미를 담는 그릇이었다. (중략)

• Science of Emotion and Sensibility
• /
• v.7 no.1
• /
• pp.83-95
• /
• 2004

Market globalization rapidly has changed market environment. So, in this study, we suggest global design process for many global companies which try to get global competitive advantages over through design. We create a new frame of study for global design as examining the circulative causal sequence structure of global consumer culture, global design, and global segment consumers in the meaning structure of global consumer culture and movement. And, with the new frame of study, the purpose of this study is to propose global consumer culture-based global design process for preference design. For the purpose, we reviewed global segmentation market, global consumer, global consumer culture and global design. And to search the circulative causal sequence structure, we applied to the theory of cultural movement structure by McCraken to constitute the frame of this study. For the empirical research, we focused on global teens consumer culture as the second data. Finally, we suggested global consumer culture-based global design strategy and discussed our future study.