• 복식
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• 제63권5호
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• pp.115-131
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• 2013

Dries Van Noten, one of the Antwerp Six, focused on recreating traditional attire from each region to complex contemporary attire and has shown designs that interpreted ethnic image in contemporary perspective from his very first collection. He has positioned himself as a designer with creative expression of ethnic image through broad use of various patterns. This paper analyze the use of pattern in Dries Van Noten's designs by season and item, and reflects on the characteristics of pattern use and influence on fashion image. Total of 887 clothing items were collected from Noten's collections on the Internet. Through analysis of frequency and percentage and cross tab of expression techniques, types, patterns of each motif, and classifications of print combinations, it was shown that Noten has applied six aesthetic rules in the use of pattern design. Pattern played the most significant role in his design. It was possible to achieve the balance of ethnic image and modern image with the mix of flower and abstract motives. Overall pattern was mostly used for practical purpose: border patterns and spaced patterns played a vital role in rendering uniqueness. Noten exhibited unity and variation in combining prints. He expressed the beauty of Oriental style by inserting solid color blocks in between patterns and decorations along trim lines.

• 산업경영시스템학회지
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• 제32권4호
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• pp.169-177
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• 2009

Concurrent Engineering (CE) has presented new possibilities for successful product development by incorporating various product life-cycle functions from the earlier stage of design. In the product design, geometric representation is vital not only in its traditional role as a means of communicating design information but also in its role as a means of externalizing designer's thought process by visualizing the design product. During the last dozens of years, there has been extraordinary development of computer-aided tools intended to generate, present or communicate 3D models. However, there has not been comparable progress in the development of 3D-CAD systems intended to represent and manipulate a variety of product life-cycle information in a consistent manner. In the previous research, the authors proposed a novel concept called Minus Volume (MV) to incorporate various design information relevant to product life-cycle functions. This paper proposes the use of the MV concept for the collaborative design environment, where many team members are geographically distributed over the networked environment, including Internet, Intranet, WWW, etc. A prototype 3D-CAD system is implemented based on the MV concept and illustrated with the successful implementation of collaborative design example.

• 산업경영시스템학회지
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• 제32권1호
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• pp.102-110
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• 2009

Concurrent Engineering(CE) has presented new possibilities for successful product development by incorporating various product life-cycle functions from the earlier stage of design. In the product design, geometric representation is vital not only in its traditional role as a means of communicating design information but also in its role as a means of externalizing designer's thought process by visualizing the design product. During the last dozens of years, there has been extraordinary development of computer-aided tools intended to generate, present or communicate 3D models. However, there has not been comparable progress in the development of 3D-CAD systems intended to represent and manipulate a variety of product life-cycle information in a consistent manner. This paper proposes a novel concept, Minus Volume (MV), to incorporate various design information relevant to product lift-cycle functions. MV is a functional shape that is extracted from a design object within a bounding box. A prototype 3D-CAD system is implemented based on the MV concept and illustrated with the successful implementation of concurrent design and manufacturing.

• 디자인학연구
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• 제15권4호
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• pp.307-316
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• 2002

본 연구는 디자인 과정 중에 발생하는 디자이너의 사고행위를 해석하는 디자인 과학 연구의 하나로서 인지심리학의 이론을 바탕으로 디자인 과점에 대한 인지실험을 실시하여 은유사고를 이해하고자 하였다. 연구방법으로는 건축 디자이너를 대상으로 디자인 개념 설정 과정에 대한 디자인 리뷰(review)실험을 실시하여 겉으로 드러나지 않는 은유사고를 언어표현으로 끄집어내고 그 내용을 분석하여 디자인 과정에서 은유사고의 특성을 살펴보았다. 주어진 디자인 상황에서 디자이너가 문제를 해결하고 개념을 설정하는 사고과정을 회상해서 이야기한 내용을 분석하여 디자인 과정을 디자인 아이디어의 발생과정으로 재구성하고 이 과정에서 나타난 은유사고를 아이디어 발생 측면에서 분석하여 디자인에서 은유사고의 특성을 파악하였다. 연구결과 디자인 과정에서 발생하는 아이디어의 생성에 가장 중요한 접은 어느 시점에 다수의 새로운 아이디어가 생성되어 디자인 사고가 확산되는 젓이며 이러한 디자인 아이디어의 확산에 은유사고가 결정적인 역할을 담당하고 있는 것이다.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.30-38
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• 2008

It has been stated that the outer skin of an architecture should be related to and express the interior programs. It was rather moral issue than practicality. In contemporary urban cities, this nicely-linked relationship between exterior and interior has become much more complex and, in many cases, is no more valid. It tends that contemporary architectural skin is somehow separately developed and has its own logic to be independent from what is inside. This research focuses on these sort of logical design process to make unique image of skin in which conceptual thinking, spatialization and materialization are mixed together. More specifically this study articulates' expandable patternization process' based on the notion that it has a crucial role to systematically construct an image of skin. Expandable patternization has a couple of stages to complete an architectural skin. The first element is a single unit and the second is organization or arrangement of units based on a logical process. Lastly, the third is spatialization after relating the skin to the interior programs as well as environmental surroundings. It is found that, although, in most related projects, the architect or designer has followed his or her own preference or design tendencies, many skin projects has based the given unique characteristics from the beginning. This study concludes that skin design is not just an image making, but has an important role to amalgamate various aspects of an architectural projects: programs, concept of architect, environment, structure as well as image.

• International Journal of Contents
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• 제5권4호
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• pp.81-87
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• 2009

In the midst of a continued discourse and development concerning design education and its impact on innovation and creativity, I believe that design education still holds the key to enhancing design methodology while increasing creativity by having students take on several creative roles in an interactive and enjoyable studio course. Clearly, there exist impediments that block the creative process in our standard track in design education; however, a course entitled "The Creative Workshop" can overcome such obstacles. Through this course, a student can learn the essential skills of a designer: inventive thinking, a sense of aesthetics, and a spirit of collaboration. In addressing each of the three essential elements, this course has devised role-plays in the way of projects. Simply put, students will be required to demonstrate and, therefore, express their unique creativity that may have otherwise gone muted. Such creative expression can take form in a low stakes, open forum that heralds the invaluable attribute in design such as creative freedom. As a result, the true spirit of creativity is fostered rather than mere aesthetics and styling. Moreover, through role plays, the focus shifts its center from design, allowing each student to explore the uncharted areas of one's own creativity which may come naturally to some extend while disconcerting to others. It may prove particularly uncomfortable for Korean students whose ideas about education have been directly connected to the strict and regimented school system that stresses adherence to standardization such as the national college entrance exam. This course, therefore, is aimed stretch the scope and scale of students' creativity as they learn to collaborate on role plays, utilizing diverse skills from various disciplines.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.96-106
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• 2015

Occupying the center of architecture, design, painting and culture, minimalism is aesthetics of essence that reflects modern age but transcends age at the same time. Pursuing minimalist trend like this and covering the range of furniture, interior and architecture, total designer Antonio Citterio is developing minimalist designs of his own. Called one of the 3 greatest furniture designers in the world today, he leads the trend and enjoys high reputation as a world-renowned interior designer and architect. Therefore, the purpose of this study is to analyze and integrate minimalist descriptive characteristics which appeared in interior space of Citterio who pursues minimalist design. As a study method, this study reorganized minimalism from methodological perspective, drew out expressive characteristics of minimalist interior spaces unique to Citterio based on background and influence of Citterio's design and, centering on this frame of analysis, analyzed and integrated interior spaces he designed. The results of this study are as follows; first, in order to overcome problems that can become monotonous in a minimalist space, Citterio provides spatial experiences to feel visual and spatial variations using the ramp and bridge. Second, he created various senses of space with visual and spatial expansion using transparency in the walls made of glass. Third, with linear expressions, he designed modern spaces with beauty of proportion and balance through contrast and emphasis. Fourth, he made constructive expression through exposure of structures or stairs in the space. Fifth, he created sophisticated atmosphere with contrast between natural and artificial materials and emphasis of material properties. Sixth, his design also shows the characteristic of using furniture as the role of adjusting overall atmosphere of interior space, not as separated parts from it. The author hopes that above results of this study will provide new implications for the development of domestic interior design.

• 대한지역사회영양학회지
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• 제15권2호
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• pp.253-265
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• 2010

The purpose of this study was to examine the designs of the menu books as an important tool of marketing and then present its improvement strategies. For this, the investigator comparatively examined the current status of menu book designs of the restaurants in Incheon area with 295 managers and then analyzed menu book designs by its designers. Menu book designers were printing houses (42.0%), specialized business (31.9%) and managers/employees (26.1%). 51.5% of menu books were impossible to substitute partially. Even there were seasonal menus or event menus, 27.5% of them were impossible to replace menu books partially; therefore, it was impossible to take a prompt action for seasonal or event menus. The easiness of understanding the terminology in menu books was average $2.74{\pm}0.45$(3-point scale). The harmony of menu book design with restaurants was average $2.46{\pm}0.51$ (3-point scale). Comparing to the menu books designed in specialized business, the menu books designed in printing houses or by managers/employees were uniform in type sizes (p < 0.001), had no menu photos (p < 0.001) and explanations (p < 0.001), and did not classify menus by groups (p < 0.001) in general. In addition, profit-making menus were not properly emphasized (p < 0.001), thus making the design of menu books a little improper. Therefore, it is necessary to educate managers in the restaurants to understand the importance of menu books and thus improve it. In addition, by maintaining close communication with designers of menu books, managers in the restaurants must ensure for their menu books to be designed appropriately, thus making their menu books play the role of an important marketing tool.

• 한국콘텐츠학회논문지
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• 제10권9호
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• pp.232-242
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• 2010

세계 경제의 일체화, 공업 설계의 글로벌화, 그리고 세계 기술혁명과 사회경제의 발전으로 각 나라의 디자인 컨설팅업계 또한 흥기되기 시작하였는데 이는 새로운 제품의 창조와 새로운 시장을 개척하는데 새로운 에너지를 주입시켜주고 있다. 동시에 디자이너들의 디자인 또한 단순히 제품을 디자인하는 단일한 행동으로만 가치를 창조하는 것이 아니라, 디자이너의 직능과 가치 창조의 경로를 통하여 디자이너의 직능과 가치 창조의 방법을 통해 다원화적인 방향으로 발전하기 시작하였다. 본 논문에서는 우선 관련 문헌을 통해 현재 디자인 컨설팅의 기본적인 개념, 유형 등 내용을 살펴볼 것이다. 두 번째는 선행연구를 통해 영국, 일본, 한국의 디자인 컨설팅업계의 발전 상황, 발전 추세 및 경제발전 과정에서 디자이너의 발전상황과 직능의 전환 상황에 대해 고찰해볼 것이다. 마지막으로, 현재 기업에서 디자이너가 공업 디자인자문을 할 때 역할과 지위의 범주 확정에 있어서의 모호성에 대해서 본 연구의 결론을 제기할 것이다. 또한 전체적인 프로젝트의 기획자, 디자인 전략의 기획자, 전반적 디자인 프로세스의 제공자, 고객 사유의 인도자 등 넷 가지 측면으로부터 디자이너가 공업 디자인 서비스를 제공할 때 담당하는 역할에 대해 설명 할 것이다.

• 복식
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• 제58권4호
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• pp.113-127
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• 2008

Artificial lights have effected the changes of art and fashion concepts as well as human life since the invention of electric light bulb in late 19th century. Artist and designer have had more interested in these artificial lights as the development of digital technology and the change of millennium and they have tried to apply the lights into their works. The purpose of this study is to analyze the aesthetic characteristics of contemporary fashion design using artificial light as a medium. Artificial light for fashion design means the light using luminescent material like phosphorescent and fluorescent materials or in combination with electroluminescent digital technology or the light that can be perceived as images when light projects from media using a light projector or other digital equipment. Fashion design using this light type can change colors or form temporarily and it can playa role as a gadget for hm or as equipment to provide information much as a computer monitor does. And designer can create virtual patterns on the surface of clothes, or virtual fashion like a 3-dimensional holography in empty space. In these fashion designs, the virtual image of light is substituted for physical formative elements in fashion, and the viewer can experience an ambiguity between reality and virtuality. The results of the study were as follow; The formative characteristics of those fashion designs were identified as visibility, indeterminacy, integration and virtuality. And they reflected the internal meanings; the persue of protection and safety, the search for experiment and innovation, the will for interaction and communication and the desire for the deviation and fun.