• Archives of design research
• /
• v.19 no.4 s.66
• /
• pp.41-50
• /
• 2006

It is generally regarded a design system in post-industrial society, which products designed by in-house designers or design consultancy are manufactured in factory and distributed in market for the consumer. Although it is treated an old design system in traditional society, the traces of vernacular design has been remaining in the state of adopted to the periodical needs in these days, also proving the attribute of design culture to constitute human's material environment as well as existing design systems. There were discovered various design artifacts in daily surroundings vary from the established design in several manners, user modifications or manufactures in everyday lives formalized them. It was approached a case study that analyze the changes of artifact configuration and designer/user context and creation process of the non-professional design artifacts, Creativity Template Theory and ACM(Artifact Context Model) have been utilized for the analysis model. From the analysis result, It assume that the everyday artifacts may be ordinary but extra-ordinary including particular ideas and identity represented by everyday designers or users. Beside these characteristics induce the potentiality that reflect on creative motives for the designers or a complementary artifact generator filling up with drawbacks in established design system. The everyday design domain, various explorations and alternatives are made, is seems to be another design practice domain dissimilar to the one in the industry-based design. Moreover it provides an more easily accessability for the approaching user-friendly design, user customization because they conduct the reliable modeling of consumer and end-user. Finally, based on the exploratory study regarding interpretation of context and configuration in the everyday artifacts, new approach for the design process and design education through more detailed cognitive modeling of everyday designers will be a further study.

• Journal of Information Technology Applications and Management
• /
• v.29 no.1
• /
• pp.1-28
• /
• 2022

To realize the vision of internet of things (IoT), where it is expected to bring significant impact to the global economy in the future, consideration of business models in the IoT context is necessary. This research attempts to build an enhanced artifact business model framework based on the definitions of IoT and literature on business models for analysis of IoT businesses. The framework is used to analyze four different types of players: the owner of things, vendors of devices, providers of connectivity and providers of IoT application services. The findings suggest that the owners of things tend to partner with ICT players to complement their weakness, and it tends to be connectivity providers. The device vendors leverage their strength of devices and device platforms to attract and enable 3rd party sensor/devices to interconnect, while the service providers are aiming to penetrate into customer premise. These lead to the following recommendations for non-IT players to consider in expanding into IoT business: 1) take into account differences in product development process between IT and non-IT businesses in expanding into IoT market; 2) collaborate with ICT players that acknowledge and understand the differences.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.44 no.2
• /
• pp.273-294
• /
• 2020

Considering the complex relationship between fashion curating and the critical approach of fashion exhibition reviews, this study explores the current state of fashion criticism in museology, focusing on fashion designer exhibition reviews of Fashion Theory. The author selected eighteen exhibition reviews of individual fashion designers' works from 1997 on to the current 2020 issues of Fashion Theory, which provides an interdisciplinary forum to analyze fashion as a cultural construction. The author performed a systematic review that qualitatively summarizes and/or synthesizes the findings of the studies on the topic with the process of a systematic review, such as key question formulation, analytic framework building, evidence mapping, critical appraisal, and evidence synthesis. The results of this study are as follows. First, the exhibition reviews included almost all stages of the inclusive fashion criticism model, based on an artifact study. Second, they reflected various critical discourses that offered current interpretations of historical and contemporary fashion. Third, they showed that fashion criticism in the museum context is the result of an interdisciplinary collaboration of various fashion agents. Finally, they offered a bridge for crossing the boundaries of various scholarly fields, as they combine multidisciplinary scholarship with object-based methods.