• Science of Emotion and Sensibility
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• v.10 no.3
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• pp.443-450
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• 2007

Design is a realm one should have brought out creativity. So designers have continuously struggled for creating something new. In respects of that the essence of design work is making novel and creative things, and in design process' creative idea generation' to reach a final design solution is one of important capability that designers must have. In this study two different substantial methods for creative idea generation are suggested. One is existing' analogical association', an essential form widely used in association process, another is 'shape elements reconstruction' similarly operated 'shape grammar'. Therefore in this study for finding methods to reinforce designers' creative idea generation both of paper-based and computer-based design method are suggested substantially. In Both there is a common feature that existing or quiet new elements are organizationally associated or reconstructed in idea generation procedure.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.228-229
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.224-225
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.60-61
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.180-181
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• 2004

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.50-62
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• 2002

From modernism to post-modernism, the practice in the design field often reduced the complexity of environment and to remove variety. However, contemporary ideas of space have been changed. The current thought premise is that the environment is mutable and is evolving according to inner and outer forces and elements. Therefore, leading designers recognize that the environment is complex in itself while anticipating a new theory explaining on-going trends. The idea of fold formulated by Gilles Deleuze can provide a theoretical base for new environmental design in constrat to current design practices. The fold is a hybrid by accommodating complex relations within an object. It carries a dynamic world view through continual process and yields a topological space against absolute space like Euclid geometry. The characteristics of the fold can be paraphrased as rhizome, stratification and smooth space. Rhizome forms a non-hierarchial connection like networking in internet space. Stratification is a kind of superimposition of autonomous potential layers within a single object. Smooth space is a free space and event oriented space keeping non-linear form. This study tried to incorporate the idea of fold to environmental design methods and design process in order to make space which can correspond with complex environment and topological form. In the design process adapted to fold theory, rhizome analysis accepts the complexity of environment and stratification strategy embraces the possibility of accidental use. As a result, the designed park carries a monadic image and produces an ambiguous space. Lastly, smooth space makes topological space unlike Euclid geometry and is free space comosed by the user themselves. Transporting the idea of fold into environmental design could be an alterative way for indeterminate and flexible design to accept new identity of place. Therefore, this study accepts the concept of incidental morphogenesis to make space based on the complexity of environment. The designed space based on the idea of fold searches to create free event space determined by user rather than designated by designer.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.110-111
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• 2002

• Archives of design research
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• v.15 no.1
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• pp.153-161
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• 2002

There exist various conventional ideas, but few ideas may be used for actual production of advertisements. Moreover, because we tend to obtain ideas primarily from the pictures, we rely more and more on data collections, and eventually, we tend to copy them. If there is an idea which designers and copy writers can share, it will be a very effective idea. On the other hard, we need to depart from the individualistic mannerism or the reset-oriented approach depending on incidental manual works and instead, develop a lecture program which helps students e strike systematic ideas centering around processes. In order tn solve such problems, the researcher attempts to suggest "Spring Method" which has heed verified through the advertisement design practice courses at college for 7 semesters. This method focuses on ′visualization of concept′ through such stages as compression, inference and expansion, and therefore, emphasizes an organic linkage between language-oriented idea process and visualization process for advertisement ideas.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.275-288
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• 2016

A decision tree analysis was performed by categorizing the idea sketches produced in the group environment into three different levels of visual stimuli ambiguity (vague, ambiguous, and definite) and two idea-sharing situations (before and after). We then examined the predicted values for the creativity of each group's idea sketches, the factors that led to high creativity scores, and their standards. The results of the analyses indicated that the Resistance to Premature Closure, Originality, Elaboration, ness, and Similarity represented important predictors of the creativity of design idea sketches according to the level of ambiguity of the visual stimuli used and whether ideas were shared or not. The group presented with vague stimuli after sharing ideas scored the highest predicted creativity value and the group presented with definite stimuli after sharing ideas scored the lowest predicted creativity value.