• Applied Microscopy
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• v.43 no.2
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• pp.81-87
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• 2013

The influence of carbide formation on mechanical properties has been investigated in carburized steels. Through controlled diffusion and precipitation processes, the morphologies of carbides could be changed and then fine, networked, and spherical shapes at carburized layers were obtained. These morphological changes affected tensile and bending fatigue properties of the steel. The fine and the spherical carbides acted as resistance sites against crack propagation, which improved the mechanical properties. However, the networked carbides deteriorated the properties because the cracks propagated along the boundaries of them. These results indicate that the morphological control of carbides is one of important keys to improve the mechanical properties.

• Journal of Fashion Business
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• v.21 no.5
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• pp.136-150
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• 2017

3D printing has grown tremendously as the most noteworthy new technology in the manufacturing industries. In addition, the rapid development of computer science technology with 3D printing has created a new paradigm called Fractal Geometry, or a new form of digital art. This study explores the formative characteristics of 3D printing jewelry based on presentation of fractal geometry by classification of 3D printing jewelry's morphological types that except for producible shape with traditional mold manufacturing methods. The results of the study are as follows. The morphological characteristics of 3D printed jewelry are divided into their constitutive shapes by the repetition of the unit. The organic shape determined by superposition or overlapping, the systematic shape by distortion caused by distortion, and the variation in scaling by scaling. The formative characteristics, which are drawn from a study on the shape expression of 3D printed jewelry design using fractal geometry, consist of continuity, geometrical characteristics, and exaggeration. Continuity creates a new and self-assigned new space through a recursive structure through a cyclic structure that is formed along a single directional basis. The geometry of the geometry forms a three-dimensional and constructive structure comprised of the same size and structure of the same sized unit under the mathematical order of the geometry of Fractal's geometry. Exaggeration demonstrates the informal beauty and the maximization of the shape by expanding the scaling or superposition of a unit, by scaling the scale or he distortion of the units.

• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.58-70
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• 2017

This study examined the characteristics of generative design methodology, and it selected and analyzed 11 sites that provide design development services using generative methodology, INPUT data were classified into design form factor based on the choices of each and the variable form associated with each participant's movement. In designing the algorithms, designers set the meth- od and range of participation according to the characteristics of the design, and linked them with design components. This provided the study with a discriminative design process. This resulted in a type with morphological characteristics and a type that emphasized epidermal formability. The generative design methodology has value as an alternative process in the field of fashion where the utilization of digital technology is becoming universal based on contingency and variability. The results of this study can be used as basic data for the study of personalized design through the extension of methodology of digital-based fashion design and generative methodology.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.29-43
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• 2015

This study investigates transformable designs in contemporary fashion. In contemporary society, designs are accompanied by various changes such as transformation of shapes or variation of material beyond the certain form of dress. As a result of having interest in transformable designs with the various attempts on the overall design, transformable design is being suggested as an attempt as the new manner, radical concept, or alternative of multi-purpose lifestyle. With the constant research and collection presentation by the designers of empirical disposition, transformable dress has been evolving gradually. The feature of transformable design appeared in dress is considered as 'variability' which changes in the flow of time. Furthermore, the morphological variability and variability of material have been examined as visual stimuli and conversion of material. By analyzing and assorting diverse transformable dresses comprehensively, it could be divided into technique-oriented transformable design and transformable design with a wearer's intervention. The technique-oriented transformable design is subdivided into the conversion of material and the conversion of form; the transformable design with a wearer's intervention into the conversion of functional frame and the conversion of aesthetic feature.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.47-56
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• 2005

The purpose of this paper is to understand the meaning of 'institution' in Louis Kahn's architecture and to reveal that it is expressed through singularity and commonality, which have two aspects; formal-material(eidos-hyle) aspect and phenomenological aspect. Under these recognitions, this paper shows the detail analysis on design process of Phillips Exeter Academy Library, focusing on his writings and sketches. The results are as follows. First, the basic form is maintained through the design process of the Exeter library, and it is derived from the consideration of the human activities in the library. And second, each 'room' of the library acquires its singularity through structure and light. And the 'plan' is based on the commonality inherent in the singularity of each room. And the last, singularity and commonality are revealed not only In the relation of architectural elements but also In the relation with man and architecture.

• Archives of design research
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• v.19 no.1 s.63
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• pp.225-234
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• 2006

Product designers sketch various ideas of foreground figures(detail design) onto background figures(basic form) and evaluate numerous combinations of them in the late stages of design process. Designers have to test their ideas elaborately with a high-fidelity physical model that looks like a real product. However, due to the requirements of time and expense in making high-fidelity design models, it is impossible to evaluate such a number of combinatorial solutions of background and foreground figures. Contrary to digital models, physical design models are not easily modifiable and so designers cannot easily develope ideas through iterative design-evaluation process. To address these problems, we proposed a new concept 'Augmented Plasticity' that gives morphological editability to a rigid physical object using Augmented Reality technology and implemented the idea as Digital Skin system. Digital Skin system figures out the position and orientation of object surface with ARToolKit visual marker and superimposes a deformed surface image seamlessly using differential rendering method. We tried to apply Digital Skin system to detail design, redesign of product, and material exploration task. In consequence, it was found that Digital Skin system has potential to allow designers to implement and test their ideas very efficiently in the late stages of design process.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.188-195
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• 2004

The evolutions of human mental capability and technology opened a new era called "Digital Space." Moreover, Digital Space as technology is already accelerating the process of "self-expansion." The expansion, on the foundation of its conceptual and morphological variety, acquired the potential to furnish various types of spatiotemporal experience. This phenomenon, as a necessary consequence of focusing on the resulting value of the human-space relation which came next to its ontological value, requests the value of the space design as an attempt of various phenomenal experience in the relation of technology, human, and space to be educationally established. From a typological point of view, no true creation exists in any form of design. It is practically impossible to design in the void without any restrictions, and all design is based on preceding examples. This is because production of artificial is based on the universal principles or structure residing in history, namely, typology. Considering Digital Space from technological and cultural standpoints, it can obviously be called a new type of space, and beyond that, it becomes a new type of a methodological tool of design. Thus, the purpose of this study is to systematize the paradigm of the space design in the digital era by studying the concept of space in Digital Space from the standpoints of history and context, that is typology, and in accordance with it, classify the phases of the space design that is led digitally.at is led digitally.

• Journal of Fashion Business
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• v.23 no.2
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• pp.48-61
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• 2019

The objective of this study was to derive a list of creative thinking techniques applied with the requirements of the appropriate technique for the task of fashion design development among the process of fashion product planning. This was done through the analysis of thinking techniques by the type of thinking and idea method. Also, the study presented how each creative thinking technique derived is applied to the task of developing fashion design. The scope of the study was 'Fashion Design Development Task', which corresponds to the design sketch of a fashion item based on the seasonal design concept derived through the fashion design planning stage. Research on the thinking techniques consisted largely of the process of idea thinking, the elements of creative thinking, the patterns and types of thinking. Four studies by Makoto, Michalko, De Bono, and Cox suggesting that the patterns and types of thinking techniques were analyzed for the purpose of this study as empirical studies through FGI of a group of five fashion experts. The analysis results showed that the thinking techniques suitable for the development of fashion design were derived from the technique of fractionation, attributive listing, scamper, morphological analysis, mind mapping, lotus blossom, pattern language, provocative operation, and forced connection. In particular, it can be confirmed that the scamper was treated as an efficient and practical technique in the many studies.

• Fashion & Textile Research Journal
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• v.25 no.2
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• pp.153-164
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• 2023

As interest in the environment and sustainability increases, a tendency to pursue eco-design is emerging. Sustainable design coincides with the Korean aesthetic sense of applying the principle of the circulation of nature. This study examined Korean traditional furniture, Bandaji, from the perspective of historical and cultural sustainability and extracted and adopted a sustainability-related motif. The purpose of this study was to develop a creative bag design that reflects Korean tradition and strengthens artistry. First, a bag was produced based on the morphological characteristics of Gyeonggi-do Bandaji. Second, though the original overall design was maintained, the decorative patterns were modified by, for example, increasing the number of ear decorations on the surface of the bag and reducing the number of traps. Third, a new geometric pattern was created for the surface of the bag; this entailed moving the position of the handle-shaped ear ornament and the leather. Fourth, new decorative patterns were drawn on the surface. This study is meaningful in that it presents a sustainable bag production methodology that reflects Korean aesthetics. It also showcases a designer's unique, creative, and artistic bag design. It is expected that design work inspired by Korean formative beauty will be an opportunity to simultaneously utilize and support various Korean cultural assets and artworks.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.68-77
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• 2011

In this research it is concentrated first of all on the attempts to reconstruct the historical context of the idea for the space design based on the natural construction and to re-appropriate il critically to the present context. Sequentially in the areas of philosophy, biology, neuroscience, and architecture it has been variously discussed on the problems about the synthesis of biology and techniques. In the context of the consilience of biology and technique Werner Nachtigall, who has intended to shed light on the morphological principles in the natural construction, founded the 'Bionik', which is different from the bionics or the biomechanics that are oriented to the imitation of natural forms. The space design that is on the basis of the Bionik treats organisms as a functional whole. Therefore the Bionik space design follows two kinds of principle such as the principle of analogy and the principle of optimization. After all the understanding of the consilience of nature and technique for Nachtigall and Bionik designers tends toward the explication of the complex process in which the human perceptions, the environment, and the phenomenal techniques are united together, and this complex process is associated with the space design based on the Bionik.