• Journal of Industrial Convergence
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• v.20 no.6
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• pp.1-6
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• 2022

This study started with the design methodology for externally installed metal sculptures. As the scope and meaning of design grows, the concept of design is also used for externally installed sculptures, and there is a demand for a sculpture design that contains the story of the installation environment while being suitable for the surrounding environment. This concept is defined as an environmental sculpture only among formative artists. The concept of environmental sculptures is not fully known and academic research is also insufficiently performed. Therefore, in order to define externally installed sculptures as environmental sculptures, this study elaborated the concept and conditions of good design and the concept and role of environmental sculptures as a theoretical background, and classified the concepts and conditions of good design and the concepts and roles of environmental sculptures. Based on the previous theoretical studies, by utilizing the conditions of good design and the role of environmental sculptures, this study suggested that design development elements were completed as metal environmental sculptures and research works were presented. In conclusion, the design methodology for metal environmental sculptures has been presented, and various environmental sculpture design studies will continue and various paradigms of convergence environmental sculptures will be studied.

• Archives of design research
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• v.16 no.2
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• pp.243-254
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• 2003

This research, we will begin our analysis of the types of research example of designers by the linguistic studies of products form. Specially, we had a mind to generate the linguistic concept of products form by the linguistic relations between tools and thinking, and analysed how activate the roles of form language in linguistic and non-linguistic areas. We understood the relations of design process about idea generation, same means of interpretation of form and the generation of form concept, by using of the roles of form language made in design process. We showed the research examples of Enzo Mari and the origins of form language in view point of design history. Also, we classified the form linguistic concerns of designers and scholars interested in design areas by dividing various factors in view point of language. Finally, through the process of this classification, the researches of form language call for further study, as more the examples of detailed design practises and the individualized form language of products than systematic researches and abstract theories about products, and emphasized this viewpoint, we suggest a going-on research theme, the individualized products' differences of form language and concerns viewpoint of inter-culture, the concept generation of form language of products can be inter-coexistent.

• Archives of design research
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• v.11 no.2
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• pp.229-239
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• 1998

This study alms at developing the basic substance of education in Creating in 2- Dimentional Space, Which will make it possible to express and pursue creating which is appropriate for the characteristics of computer graphic as well as the technical side of the creating shape using computer in the established basic educational programs of the field, Thus in this study, I will put the concepts of creating shape relevant to various expression media in order. Based on this, I will clarify the potential of utilizing computer graphics and the extent to which they can applied, The purpose of this study lies 10 understanding computer as a means of creating and revealing the possibility for broadening the boundary of the establishd creating, For this, I am gOlOg to propose a plan for the education of Creating 10 2-Dimentional Space, limiting myself to the area relevant to computer graphics.

• Archives of design research
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• v.11 no.2
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• pp.95-103
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• 1998

During design thinking and developing, its idea into the real world, and we are under pattern recognition and gestalt principles of perceptual organization. Generally originality is a part of creativity which consists an integral factor of the designing. This is a study on the measure system for an ability of originality in design. It is reorganized that the OTLD(Originality Test of Line Drawing) is a measuring system for personal originality. In order to catch the development the thoughts, we presented 10 picture planes as stimuli (each picture plane contained 3-18 dots), recorded the tape displaying eye-mark trajectories and outputting the trajectories with EMR(Eye Mark Recorder), then found the process of visual sensation and perception. From the results of this study, we examined the relationships between connections and complexity of the objects on the picture plane, which could be transformed into some objective measuring parameters. We would suggest this OLTD as a measurement system for an ability of originality in design fields, but we couldn't find any reliability and validity for fine art fields.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.465-474
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• 2017

This study aimed to identify the trends of related research as a basic study for the development of creative convergent formative education program of natural structure concept. This study sought to identify research trends present in previous studies. The nature structure of the preliminary research was limited to the three concepts: (i) fractal ; (ii) kinetic and (iii) biomimicry. In this study, the trends of domestic research in the last 10 years related to the concept of natural structure were analyzed using academic research information service. It was found that, to date, little research has been conducted on the three concepts across education fields. In relation to the fractal concept, previous research has focused on mathematics. This preliminary study sought to review the abovementioned three concepts or the development of a modeling education program. It should be significant, if an education program adopted unlimited modeling principles to understand the innate features of the nature structure. However, very few education programs have adopted the three concepts of the nature structure. Future studies would seek to review international research trends based on the three concepts of the nature structure and combine the results on international research trends with the results on domestic research trends found in this study.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.148-161
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• 2022

Korea's design developed closely related to economic growth and plays a key role in material growth, wealth growth, and consumption promotion today. Of course, it is true that Korea's design level has grown significantly, but it has not reached a trend-leading level. Behind this, it is thought that one of the reasons behind this is that most design companies are biased towards trend research and benchmarking from a supplier perspective, resulting in the creation of design sculptures. If you look at the examples that lead the world's design trends, you can see that their subjective thinking from the author's point of view accounts for a significant portion of design sculpture creation. Through an in-depth interview with designers and artists at both extremes of the spectrum of thought, I want to look at examples of self-expression design development and get implications for suggesting conceptual models of self-expression design sculpture. Through this, a conceptual model was proposed, which is organized into a five-step design creation process in which balanced thinking is achieved by combining the thinking system and process according to the writer's point of view with the majority of design creation dominated by supplier perspective.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.622-629
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• 2009

Modern figurative work is designed to have more creativity and characteristic traits by pure thought of the formative ceramic arts. In compliance with the demand which is various the design development could be satisfied an individuality and a taste is become accomplished. In this view, this study looks over expressive aspect of Cubism to present partition as a independent formative ceramic arts is able to contribute emotionally to our whole lives. In this procedure, this work is produced to express a three-dimensional effect and a spatial effect, approaching a figurative side. This is to overcome the limitation of Cubism art expressed in a two-dimensional surface in spite of its multi-dimensional observation of a given object. Accordingly, this study tries approaching pre-understanding of expressive aspect of Cubism which was the important turning-point in 20c art and expansion of the modern ceramic art field before producing the work. This study shows the possibility to become a creative and practical ceramic art work, approaching the new point of view breaking from the established conception. Consequently, the field of ceramic art could be expanded to a part of modern ceramic art as an object of study in art of life.

• Archives of design research
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• no.18
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• pp.75-84
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• 1996

모든 예술적 표현 활동은 서로 깊은 연관을 지니고 있으며, 복식 디자인 역시 예술적 표현 활동의 한 분야로서, 현대에 이르러 복식은 단순히 입는다는 개념을 탈피한 하나의 조형 예술로 인식되어지고 있다. 예술적 표현 활동은 조형 제작 활동의 주체인 인간이 예술적 표현의 의지를 사물로 객체화하는 과정에 있어서, 그 재료와 재료의 가공 기법을 통해 표현되는 활동이라고 말할 수 있다. 근자에 이르러 종이는 예술표현 활동에 있어서 진정한 표현 매재로 간주되고 있으며, 특히 종이를 예술적 표현을 위한 피동적 표면이라는 재료로서의 고정된 관념에서 탈피하여 입체적 조형이 시도되고, 이러한 종이의 입체로의 성형 가능성에 대한 발견은 조형 매체로서의 종이에 대한 새로운 시각을 제시하고 있다. 이에 본 연구는 종이 조형에 의해 표현되는 조형성을 복식에 적용시키기 위한 것으로서, 종이를 통한 조형성 표현의 여러 방법 중 특히 접기의 방법을 응용하여, 접기 기법의 조형요소로서의 특성과 인체와 결합하여 복식으로 이루어졌을 때 새로운 조형물로 인식되어질 수 있는 복식의 형태를 시도하였다. 작품은 접기 기법에 의해 형성되는 조형성을 복식을 응용하여, 복식에 대한 기하학적 조형성과 함께 새로운 실루엣과 이미지를 창출하며, 복식의 새로운 표현 영역의 확대를 위한 실물 작품으로 제작하였다.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.64-77
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• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• Asia Marketing Journal
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• v.1 no.4
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• pp.126-151
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• 1999

고객만족 개념의 연구 초기에서는 고객만족 개념을 인지적 반응, 정서적 반응 등 포괄적으로 정의하고 있으나, 지금까지도 만족이란 구성개념의 세부적 기술(specification of the construct)이 제대로 이루어지지 않았다. 고객만족에 관한 초기연구 이후 이론의 정교화가 점진적으로 이루어지기 시작하면서 고객만족의 개념은 "충족상태가 유쾌한 수준에서 제공되거나, 제공되었는가에 대한 판단"으로 정의됨으로써 만족이란 개념을 보다 구체적인 수준에서 설명하고 있다. 그러나, 이러한 정의에서도 고객만족의 본질적인 특성이 무엇인가는 명확하게 기술되지 않고 있다. 본 연구에서는 선행연구에서 제시되고 있는 고객만족의 개념적 정의(conceptual definition)와 조작적 정의를 비판적으로 검토하여 고객만족 개념을 재정립하고 향후 연구와 활용을 위한 명제를 제시하고 있다.