• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.50-51
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• 2002

• Archives of design research
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• v.17 no.2
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• pp.279-288
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• 2004

Corporate design activities have expanded from being exclusive and passive responsibilities to active participation in planning, marketing, technology and corporate brand image differentiation for successful business. Thus the communications between designers and other functions come to include critical decision making, information sharing, and objective reasoning. Given that design activities now have to involve various functions in product development, the styling-related design process, which is still developed by designer's intuition and experience, poses as an obstacle not just between various functions involved, but even within the design function. To overcome this obstacle and to lead more effective design decision process, a means for product form development assessment and management is necessary. This research proposes a foundation for managing and assessing product form based on the hypothesis and demonstration of discovering a system of formative factor and order a product form expresses that can be shared as an objective and logical system. As a result of this demonstration, the form as a unique visual expression and the factors related to the form and its co-relationship are examined. The factors are called formative parameters and the system is named as the product form alignment method. Based on the logic derived from the system, the process for developing an image that aligns with the predefined goal is explained. The method defines a balance between a designer's intuitive creativity and the extracted logic, which can act as a basis for designers to share design language among themselves and for communication between design and other functions. Based on this system, designers are able to align design work with the set goal, and focus and limit the range of form development, which is anticipated to result in lead-time reduction and minimizing unnecessary obstacles and mistakes.

• Science of Emotion and Sensibility
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• v.12 no.1
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• pp.87-96
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• 2009

Recently, there is a tendency of consumer's participation gradually increasing in the design shaping process. Consumers make evaluation or suggestion about the shape of the product, and the industries lay out schemes to elicit consumers' participation. However, when it comes to dealing with the shape of the product, consumer and designer has a fundamental difference in their point of view, and it works as interruption to the efficient communication between the consumer and designer. Therefore, this study will examine the difference of consumer's and designer's view of products' shape, and the guidelines of effective molding which elicit the consumers' affective responses. First, I established the sensible image vocabulary based on the shape of the product. And based on the vocabulary, I carried out the same experiments to the consumers and designers. As a result, the affective responses of the two groups toward the shape have similar characteristics and designers' reactions found out to be more dramatic than consumers.

• Archives of design research
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• v.16 no.3
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• pp.111-122
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• 2003

We must not consider a culture as means of economy. Specially, it is not possible that is supposed to incorporate a cultural identity in a shape of product, but also international competitiveness can not be raised by it. Because an identify is based on the system of symbol such as language, it can be understood only in a same cultural area. While, the value-in-use of technology can be accepted universally as a formative language of international style. Therefore, the competitiveness of design will say as a special quality that can be acquired in connection with technology. For instance, that Korean mobile telephone could be recognized worldwide is not because it has the Koreanized shape but has a high technology. The public have only a superficial understanding about design. Because that is limited in the visual aspect of product, so called 'the pretty design', which exclude the value-in-use and the organic correlation of form and function in general, it may be a cause of socio-ethical dysfunction. It is providing an elbowroom for making a mistake that can regard the product design as an artistic experiment and try to raise the international competitiveness simply with the visual aspect. And the distorted understanding about design has been diffused rapidly owing to spread of black box products because the over-designed shape is known to the public as a proper result of designing. That reorganize the design category will do as a starting point that can get rid of such a misunderstanding, and do to achieve an ideological role of design for human and society. And it will be a warning to the moral slackening that is due to regarding a style as means of competitiveness and the blindness due to thinking culture as means of economy, and we may expect to offer a basic understanding about design which can prevent products from being visualized.

• Archives of design research
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• v.13 no.1
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• pp.209-218
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• 2000

The purpose of this study was to improve the curriculum for industrial design department in the junior colleges. In order to achieve the purpose, two methodologies were carried out. First is job analysis of the industrial designers who have worked in the small & medium manufacturing companies, second is survey for the opinions of professors in the junior colleges. Some results were as follows: 1. The period of junior college for industrial designers is 2 years according to present. But selectively 1 year of advanced course can be established. 2. The practice subjects same as computational formative techniques needed to product development have to be increased. In addition kinds of selection subjects same as foreign language, manufacturing process, new product information and consumer behavior investigation have to be extended. 3. The next subjects need to adjust the title, contents and hours. (1) The need of 3.D related subjects same as computer modeling, computer rendering, 3.D modeling was high. The use of computer is required to design presentation subjects. (2)The need of advertising and sale related subjects same as printing, merchandise, package, typography, photography was low, the need of presentation techniques of new product development was high. (3) The need of field practice, special lecture on practice and reading original texts related subjects was same as at present, but these are not attached importance to form. As the designers feel keenly the necessity of using foreign language, the need of language subject was high.