• International Journal of Contents
• /
• v.7 no.4
• /
• pp.84-89
• /
• 2011

General recognition on the role of a designer has differently changed according to the age and region respectively. This research has clarified general recognition on a designer's role among a designer, experts that designers mainly perform co-work and an ordinary people in a period when the design identity is more confused than any other time. The results of this research are as follows. First, the 13 definitions on a role of a designer in a company were identified through field interview survey by presidents and practical responsible persons in design-specialized companies. Second, it was proved whether there is a difference in recognition on a role of a designer between designers and non-designers. Third, this research divided a group of non-designers into two groups such as a design job-related group mainly performing co-work with designer, and an ordinary people's group that doesn't major design. After that, this research found out the most sympathizing definition on a role of a designer at a company in three groups divided into a designer's group, a design job-related group and an ordinary people's group. The awareness on the role of designer was more objectively regulated three-dimensionally in all aspects of a designers group and a non-designers group. In addition, the findings of recognition difference of each group on a designer's role will help comprehensive understanding on each experts group and an ordinary people. The findings of the research will help in performing co-work of designers and non-designers in design decisionmaking based on understanding of this recognition.

• Journal of Fashion Business
• /
• v.21 no.3
• /
• pp.58-66
• /
• 2017

This study investigated the key role of sketches in creative fashion design by observing the cognitive process of idea development through a professional's design problem solving using the medium of hand sketching. The three-part semi-constrained design experiment with a professional designer, in which the participant designer was provided a source of inspiration image and asked to design a small collection of outfits, identified a fashion designer's idea development process as involving two phases of sketch processes: lateral and vertical transformation. Analysis of the video/audio recording and corresponding interviews validated lateral transformation in the designer's use of sketches to represent interpretation of the provided inspiration source. Through sketching, the designer transferred fuzzy ideas onto paper. Vertical transformation was observed through the designer's modification of previous ideas after reflecting on earlier sketches, with various ideas divided, manipulated, discarded, regrouped, and combined through sketching activities. The designer's sketching process is valuable design knowledge that facilitates the idea development process and ultimately triggers generation of creative ideas. Understanding it may benefit practitioners and educators.

• Journal of The Association for Neo Medicine
• /
• v.2 no.1
• /
• pp.13-23
• /
• 1997

Modern medicine can not solve all the problems caused by many intractable, chronic and aging related diseases hence more people have come to recognize the role of foods for the promotion of good health as well as prevention from illness. Further more, controlled diet are proven to be used as effective cures for certain diseases. In this paper, the definition, functional factors and mechanisms of designer(funtional) foods are reviewed. Especially, the biofuntional activities of herbal medicines which also can be treated as designer foods are intensively noted in this paper.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2002.05b
• /
• pp.58-59
• /
• 2002

• Journal of the Korean Society of Clothing and Textiles
• /
• v.39 no.6
• /
• pp.838-851
• /
• 2015

This study explores the level of designer brands' market oriented attitude through a conceptual framework of market orientation. Designer brands have rapidly increased in the Korean fashion market with a competitive environment that pushes designers to improve market oriented attitudes and strategy. Designers working for 20 brands that the government designated as 'promising creative designer brands' were invited for in-depth interviews, 19 designers from 18 brands participated in this study. The generation of market intelligence that composes market orientation meant that the designers were confirmed to collecting different types of information according to information sources. They showed interest in collecting information on the exploration of design trends from overseas designers as well as operational and managerial information from domestic designers. Fashion-related stakeholders mainly collected feedback on design concepts from the press and public institutions. They collected customer feedback from buyers; however, appropriate feedback was inadequate. Designers generally appeared to place less value on the collection of customer responses and opinions; however, two groups of designers showed customer-oriented attitudes according to accumulated experience. The market-oriented attitude of top designers had an important role in designer brands; consequently, top designers should be properly trained to improve market-oriented attitudes to increase market performance.

• Journal of the Korean Society of Safety
• /
• v.35 no.3
• /
• pp.24-31
• /
• 2020

The duty of construction clients in WSH (Workplace Safety and Health) system was included in the amendment of Occupational Safety and Health Act (enforced on 16 January 2020), which was estimated the shift of paradigm in the prevention of construction accidents. The purpose of this paper is to introduce the analysis results of construction clients' role in the construction project, which were performed by authors over the recent years in order to impose the duty on construction clients, and to suggest their role according the plan, design, and construction stage. Utilizing the systematic literature review process based on Meta analysis, the related papers were selected. For the selected papers, related domestic and foreign regulations, and other prominent report, the construction clients' role was analyzed by reflecting the experts' advice. Results show that the construction clients should control the designer and contractor for implementing the WHS system during the whole process of the construction project. They should supply sufficient source and time to ensure the workers' safety. In the plan stage, the key role of construction clients is to identify intensively controlled hazard and risk reduction plan and to transfer the results. In the design stage, their key role is to select the designer with the capacity in WSH and to assist the designer for the safety design. The main key role of construction clients in the costruction stage is to select the contractor with specialty in WSH including a contract reflecting the WSH requirement and to check implementation of WSH plan, WSH cost, WSH education, and accident report. In addition, it is thought that the construction clients' participations in the site WSH activity and adjustment of safety and health problem among contractors can be effect in the prevention of construction accidents.

• Journal of Fashion Business
• /
• v.20 no.5
• /
• pp.1-15
• /
• 2016

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie's Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion's social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.

• Journal of the Korea Convergence Society
• /
• v.10 no.2
• /
• pp.167-173
• /
• 2019

The purpose of this study is to propose the direction of competence of future designers required in the fourth industrial revolution. Designers have played an intermediary role in connecting technology and human beings. Therefore, in the fourth industrial revolution the capacity required to perform the intermediate role as a designer has also changed. The paradigm of design which changed step by step through the literature survey was studied. In addition, priorities were confirmed by comparing past and future designer competencies through prior research on designer competencies. As a result, we confirmed that the planning competence to solve complex problems and the competence of design management to realize them. Based on this research, we hope to be able to recognize the direction of competence as a designer in the fourth industrial revolution and to be a reference material for the follow - up study.

• The Journal of Society for e-Business Studies
• /
• v.6 no.3
• /
• pp.209-225
• /
• 2001

This paper Proposes the individual roles for developing small web application systems based on the Client/Server architecture with the activities and artifacts of each role and cooperation. The roles of Web Server part (i.e. User Interface Designer, Web Designer, HTML Writer), the roles of Application Server part (i.e. Domain Expert, Application Developer, Tester) and the roles of DB Server part (i.e. Database Administrator, Data Designer) are described. Furthermore, the role of the Development Leader that participates in development and manages all works in project and finds the solutions of problems in project, is also discussed. The Domain Expert analyzes the domain of the application in order to send the artifacts to the Application Developer. Then the Application Developer analyzes, designs and implements the application based on the artifacts of the Domain Expert and integrates the implemented program modules. Roles are related each other in this way, and cooperate until the application development is completed. Finally, we analyzed and compared these roles with the roles of RUP(Rational Unified process) and web wave. Suggested roles in this paper turned out to be efficient compared to the roles of the existing large-scale methodology.

• Journal of Digital Convergence
• /
• v.16 no.8
• /
• pp.279-285
• /
• 2018

The purpose of this study is to propose the role of future designers and capabilities to be developed in the age of A.I. Active and preliminary designers should prepare themselves to develop necessary capabilities. As a method of study, we investigated the meaning of design and the changing role of designers from the past to present. Additional research was conducted on generative design, design processes, and A.I based design software. Finally, based on the analysis, we proposed the role of future designers and their capabilities in the age of A.I. In conclusion, the role of future designer should lead social innovation through creativity by coworking with artificial intelligence based on understanding and empathy for users. Based on this research, designers are expected to develop unique humanities skills such as empathy and creativity and work with AI in response to $4^{th}$ industrial revolution.