• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.645-652
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• 2021

This paper analyzed the so-called 'Honey Butter Almond case', which became a hot topic by showing that the packaging design of a product can be distinguished as a recognizable trademark, not just a pattern. In the judgment, the issue was whether the discrimination power of the registered trademark and the similarity to the previously used trademark. First of all, with respect to the discrimination power of the registered trademark, the court said that the package front figure functions as an identification mark of the source, as long as the specificity of the expression method and overall composition are distinct from the commonly used. And the court said that it is difficult to say that the dominant impression is similar to the previously used trademark (the snack 'Honey Butter Chip') in terms of its name and idea. This case is acknowledging the function of the packaging design as a product label, and also acknowledging it can acquire identification as a distinctive trademark through the uniqueness of its composition and expression method.

• Archives of design research
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• v.20 no.1 s.69
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• pp.243-252
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• 2007

Nowadays, technological differences between companies have decreased and products launched show more resemblance to each other. As an alternative plan companies started developing brands. The excellence in quality of a product from a company could be easily copied, but the formless value, brand, cannot be imitated easily. More importantly, in the globally competing generation the brand provides distinctiveness and gives a solution to the relationship between consumers. Also the design image takes a big part in a company's competitiveness. The design image that represents the company reflects the brand, and it reflects the image and the philosophy of the company. And the images of each product influence the brand. Also an effective delivery of a product image would give a synergistic effect on the brand. A company could build this design identity to elevate the brand. Therefore, the identity of design image reflects the brand. Therefore a study on the area of the absence and misled identity of design image is important. This study is fixed on the idea of, development of brand to increase competitiveness, and the affiliation of design image with the identity of the brand. This study, on the basis of preceding research and theoretical background, aims to find the design identity area focusing on the product design image of the product purchased by the consumer. Firstly, we need to examine the affinity of the product image from the consumer, and analyse the direction of images to offer a solution that could advance the design identity strategy.

• Proceedings of the Korea Water Resources Association Conference
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• 2015.05a
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• pp.237-237
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• 2015

The district of Marlborough has had more than its share of river management projects over the past 150 years, each one uniquely affecting the geomorphology and flood hazard of the Wairau Plains. A major early project was to block the Opawa distributary channel at Conders Bend. The Opawa distributary channel took a third and more of Wairau River floodwaters and was a major increasing threat to Blenheim. The blocking of the Opawa required the Wairau and Lower Wairau rivers to carry greater flood flows more often. Consequently the Lower Wairau River was breaking out of its stopbanks approximately every seven years. The idea of diverting flood waters at Tuamarina by providing a direct diversion to the sea through the beach ridges was conceptualised back around the 1920s however, limits on resources and machinery meant the mission of excavating this diversion didn't become feasible until the 1960s. In 1964 a 10 m wide pilot channel was cut from the sea to Tuamarina with an initial capacity of $700m^3/s$. It was expected that floods would eventually scour this 'Wairau Diversion' to its design channel width of 150 m. This did take many more years than initially thought but after approximately 50 years with a little mechanical assistance the Wairau Diversion reached an adequate capacity. Using the power of the river to erode the channel out to its design width and depth was a brilliant idea that saved many thousands of dollars in construction costs and it is somewhat ironic that it is that very same concept that is now being used to deal with the aggradation problem that the Wairau Diversion has caused. The introduction of the Wairau Diversion did provide some flood relief to the lower reaches of the river but unfortunately as the Diversion channel was eroding and enlarging the Lower Wairau River was aggrading and reducing in capacity due to its inability to pass its sediment load with reduced flood flows. It is estimated that approximately $2,000,000m^3$ of sediment was deposited on the bed of the Lower Wairau River in the time between the Diversion's introduction in 1964 and 2010, raising the Lower Wairau's bed upwards of 1.5m in some locations. A numerical morphological model (MIKE-11 ST) was used to assess a number of options which led to the decision and resource consent to construct an erodible (fuse plug) bank at the head of the Wairau Diversion to divert more frequent scouring-flows ($+400m^3/s$)down the Lower Wairau River. Full control gates were ruled out on the grounds of expense. The initial construction of the erodible bank followed in late 2009 with the bank's level at the fuse location set to overtop and begin washing out at a combined Wairau flow of $1,400m^3/s$ which avoids berm flooding in the Lower Wairau. In the three years since the erodible bank was first constructed the Wairau River has sustained 14 events with recorded flows at Tuamarina above $1,000m^3/s$ and three of events in excess of $2,500m^3/s$. These freshes and floods have resulted in washout and rebuild of the erodible bank eight times with a combined rebuild expenditure of $80,000. Marlborough District Council's Rivers & Drainage Department maintains a regular monitoring program for the bed of the Lower Wairau River, which consists of recurrently surveying a series of standard cross sections and estimating the mean bed level (MBL) at each section as well as an overall MBL change over time. A survey was carried out just prior to the installation of the erodible bank and another survey was carried out earlier this year. The results from this latest survey show for the first time since construction of the Wairau Diversion the Lower Wairau River is enlarging. It is estimated that the entire bed of the Lower Wairau has eroded down by an overall average of 60 mm since the introduction of the erodible bank which equates to a total volume of $260,000m^3$. At a cost of $$0.30/m^3$ this represents excellent value compared to mechanical dredging which would likely be in excess of $$10/m^3$. This confirms that the idea of using the river to enlarge the channel is again working for the Wairau River system and that in time nature's "excavator" will provide a channel capacity that will continue to meet design requirements.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.7-27
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• 2006

This study aims to identify and analyze the factors that influenced the construction of London Eye which was led by private groups, including characteristics in progress, differentiated value in design, the combination of technology and design, and construction costs. The results of this study were the followings. 1) London Eye provides a new construction method for a landmark in the downtown in that the architects became the clients of the project which might have been hoarded, procuring the construction costs and completing it by themselves. 2) London Eye presents a space utilization method where undeveloped spaces in the downtown are used in three-dimensions by erecting a structure on the river with a minimum land. 3) The process of design, production and erection is propelled the realization of technical intention design with one system and from at the initial stage, the participation of the engineer where the designer is equal with you must accompany. 4) London Eye is endowed with strong shape by a circle in design concept, which is the simplest geometrical figure, and it provides organic relationship between the past and the present by utilizing historical elements in various ways. 5) The construction was completed through four phases including idea phase, promotion phase, turn-key contract phase, and design-build phase. The most critical factor to the success is derived from the direct contact with Involved companies from the production phase. 6) In a project facing many challenges in terms of technology, the design-build method proves to be a more effective method than turn-key contract in that it may more allocate risks and enable coherent implementation of the core concept in design. The organization for the design-build method was composed of three phases including general affairs, responsible contracting by sector, and cooperative system by sector. Since that was a new concept structure, high-level contractors who hadn't had existing cooperative relationships with one another formed new cooperative relationship, while collaborating companies who had long cooperated led the responsible contracting and sub-cooperative system, which resulted in reduction of risks and time. 7) The major factors to change design were the design characteristics, derived from a technically great combination, and the opening time. 8) A new erection method was applied to London Eye, a structure that overcame the limitation in land and period, and the process of installation demonstrated that it is an important value for the construction of a landmark in the city. 9) In spite of many visitors and tremendous operational income, the factors that London Eye fails to free itself from debts include the construction costs expended double than expected, and interest burden to the investments, which occurred in the course of procuring the costs. Absolute limit in time increased the construction costs, resulting in being a great obstacle in the course of operation.

• Archives of design research
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• v.19 no.5 s.67
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• pp.191-202
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• 2006

Recently the market environment surrounding business firms has been remarkably changed due to the increasing variety of consumption value and taste. On account of technological gap becoming narrower among business firms, the most important thing is for the soft value, such as that of emotional and subjective factors, in order for business firms to be able to create such strategic positioning, for which business firms should first look carefully into latent needs and values of the consumers. Since such products possessing those factors are able to supply the consumers with an appropriate value in attractive forms and meanings, new product development for the valuable products initiates a very important strategic action for securing the strategic positioning. The purpose of this paper is to study the strategic position and role of design in new product development strategy. Design has become the momentous competence of an enterprise in the most recent. Design performs its strategic role as a bridge between a business firm and the consumers. Consumers perceive value added by their purchase of products with attractive designs offered by business firms and, then, satisfy their emotional and subjective value with the products. This study, however, reviewed a new angle on the role of design as an implement for discovering consumers' latent needs and values which could be main factors for obtaining the strategic positioning. In other words, this study intended to suggest a new strategic role of design as value suppliers in new product development strategy for firms formulating and implementing their business strategies. For the new angle on the role of design, this study discussed a new approach of design strategy and intended to formulate its system first. And then, it suggested a general idea for strategic design analysis and its methodology, ethnography, as a strategic value creator. Finally, the suitability and usefulness of strategic design analysis for new product development strategy was discussed.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.193-206
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• 2021

Artificial Intelligence (AI) has been inserted into people's lives through Intelligent Virtual Assistants (IVA), like Alexa. Moreover, intelligent systems have expanded to design studios. This research delves into designers' perspectives on developing AI-based practices and examines the challenges of adopting future intelligent design assistants. We surveyed UX/UI professionals in Brazil to understand how they use IVAs and AI design tools. We also explored a scenario featuring the use of Alexa Sensei, a hypothetical voice-controlled AI-based design assistant mixing Alexa and Adobe Sensei characteristics. The findings indicate respondents have had limited opportunities to work with AI, but they expect intelligent systems to improve the efficiency of the design process. Further, majority of the respondents predicted that they would be able to collaborate creatively with AI design systems. Although designers anticipated challenges in natural language interaction, those who already adopted IVAs were less resistant to the idea of working with Alexa Sensei as an AI design assistant.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.37-45
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• 2010

WEB or Internet has given mankind an unprecedented experience in indefinite sharing of online content by original means of digitalized information, but it comes to face an empirical issue of unreasonable informational superfluity as well as a practical issue of collapsed dot.com bubble economy in 2001. Instead, a latest networking concept called 'WEB 2.0' or 'Semantic WEB' becomes embodied as a new approach to entities such as end users and content. The concept of WEB 2.0 for creating a platform on the basis of openness and collaboration has made such a technological setting that we can effectively resolve and manage unreasonable data maintenance and interface inherent in Creative Group Thinking System (CGTS), a WEB-based computer-aided idea generation system developed in 2003. Concerning decreased usability and difficulties with data maintenance due to certain issues of CGTS as a part of WEB R&D platform, such as complex display composition and inefficient data processing system, this study seeks to simplify and streamline data structure by means of AJAX and DOM as WEB2.0-based technologies, and integrate interface structure of WEB platform to focus on end users, so that it can improve interface of conventional CGTS for the purpose of realizing end user's participation through improving usability.

• Journal of the Korean Society of Marine Environment & Safety
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• v.20 no.5
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• pp.543-551
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• 2014

This study has searched to find a program in order to manage simply and practically use the expelled AtoN database from the AtoN Simulator and to support the idea decision for the AtoN placement. It examines a program that manages AtoN database through the hierarchy structure, history card and endowment with condition same as a scenario. And accomplishes this study's goal owing to realizing AtoN operational software that helps for visual, hearing sense, fixed amount verification upon AtoN placement project. The AtoN operational software contributes not only flexible control like a newly establishment, relocation etc, but also supports idea decision for AtoN placement plan through many functions such as condition search, virtual sailing and fixed amount appraisal result exhibition, etc. Through utilization of this, it is to help upon the presupposition of the impact to ship or sailor about many designs and in addition, upon the judgment of whether or not for the efficiency and appropriation of the design. It is expected to reduce possible failure costs and management costs due to AtoN design and placement plans, because to compare more various designs thru the easier verification method.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.