• Journal of KIISE:Computing Practices and Letters
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• 제5권4호
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• pp.385-394
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• 1999

제품을 설계하는 디자이너나 엔지니어는 많은 시간과 노력을 들이지 않고서 그들이 설계한 3차원 제품 모델에 대한 사실적인 이미지를 원한다. 디자인 프로세스의 초기인 개념 설계에서부터 설계검증, 그리고 가공 과정에서 사실적인 이미지가 매우 유용하므로, 대부분의 주요 CAD 제작사는 그들의 CAD 소프트웨어에 고급 렌더링 기능을 추가하고 있다. 상용의 CAD/CAM 모델러에서는 NURB 곡면을 기초로 모델링을 수행하므로, NURB 곡면을 렌더링할 수 있는 패키지가 필요하다. VIF(Visual InterFace) 렌더링 라이브러리는 A-buffer 방식과 Ray tracing 방식의 두 가지 고급 렌더링 모드를 제공한다. 다각형은 물론 NURB 곡면을 입력으로 받아 사용자가 설정한 표면의 각종 계수, 원하는 view와 설정된 광원에 따라 이미지를 만들고 다양한 형태로 출력시킬 수 있는 다양한 기능을 제공한다. 본 논문에서는 VIF 렌더링 라이브러리에 대한 구조와 기능별로 분류된 함수에 대하여 설명하며, 실제로 CAD/CAM 시스템과 통합되어 구상설계에서부터 3차원 설계 모델링에 이르기까지의 제조공정에서 설계검증 툴로써 어떻게 활용되고 있는가에 대하여 기술한다.Abstract Engineers and industrial designers want to produce a realistic-looking images of a 3D model without spending a lot of time and money. Photo-realistic images are so useful from the conceptual design, through its verification, to the machining, that most major CAD venders offer built-in as well as add-on photo-realistic rendering capability to their core CAD software. Since 3D model is consists of a set of NURB surfaces in commercial CAD packages, we need a renderer which handles NURB surface as well as other primitives.A new rendering library called VIF (Visual InterFace) provides two photo-realistic rendering modes: A-buffer and Ray tracing. As an input data it takes NURB surfaces as well as polygonal data and produces images in accordance with the surface parameters, view and lights set by user and outputs image with different formats. This paper describes the overall architecture of VIF and its library functions classified by their functionalities, and discusses how VIF is used as a graphical verification tool in manufacturing processes from the conceptual design to 3D modeling.

• Archives of design research
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• 제3권1호
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• pp.17-33
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• 1990

Evaluation plays an essential role in design activity. Many theorist have agreed that designing involves problem solving or decision making. In evaluation, designers attempt to determine the value of a particular proposal arrived at by synthesis. And the results of designing, the product, is evaluated twice, objectively and subjectively.Alternatives in $$\mu$ti-objective decision problems generally possess numerous attributes by which they can be described and compared. The evaluation factors include all attributes that have levels specified by quantitative and qualitative objectives. However since qualitiative factors are difficult to quantify as $$\mu$eral estmates, these factors have tended to be ignored without regard for their importance to human content. Therefore we need some study that convert qualitative attributes into quantitative scale values. Following to Thurstone' s Psychological scaling methods (The method of successive intervals), attribute values of TV set are assigned by rating scale methods. The method of successive intervals, like the method of equal-appearing intervals, requires but a single judgement from each subject for each statement to be scaled. It is, therefore, a convinient method to use when the number of to be scaled is large. We make the assumtion that those cu$$\mu$ative proportion distributions are normal for each statement when they are projected on the unknown psychological continuum. In this study, we have determined the scale values of 42 statements of TV set by the method of successive intervals. Then we can apply a test of internal consistency similar to that used with the method of paired comparisons. We have as our absolute average deviation, -1.748/252= -0.0069. We have reason to believe that our scale values are consistent with the empirical data, because these discrepanicies are very small.

• Science of Emotion and Sensibility
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• 제21권1호
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• pp.91-98
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• 2018

The purpose of this study is to reveal concrete evidence on how aesthetic preference is applied in product design by countries. Since the 19th century, the proportion has been examined various times, and the conclusions consistently showed the strong preference for the golden ratio (1:1.618). However, previous studies are mainly focused on western products that were designed by western designers, so when the same experiment conducted for the first time in Asia with the question of 'Is the Asian subjects also likes the golden ratio?', the result clearly revealed that Korean subjects have a significant preference for the root ratio (1:1.414) and perfect square (1:1). It demonstrates that proportion preference might be different by countries, and it also influences on everyday products. Moreover, there is not enough evidence of Asian product proportions. For this reason, this study will strive to expand the knowledge on Asian aesthetic preference by focusing on Japanese automobiles that were designed and produced in Japan. 55 iconic Japanese automobiles were analyzed for proportion and compared with 50 iconic German automobiles. The result shows that Japanese automobiles have a shorter length of 7:10 (1:1.414) ratio than German automobiles with 13:23 (1:1.769) ratio. This result proves that there is the difference in preference for the proportion of Japan and Germany, and it has already influenced on automobile proportions. This result has a strong value that finding the most appropriate proportion of automotive design is a major issue in new product development, so this can be adapted to various fields of the design process where strong cultural value exists.

• Journal of Fashion Business
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• 제22권2호
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• pp.1-13
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• 2018

3D printing technology, which is expected to play a leading role within the Fourth Industrial Revolution, is becoming distinguished not only in the space, automotive, medical and engineering industries, but also in the area of design. The fashion and textile structures created by 3D printing technology were classified into three types - basic structure, unified structure, and a new physical structure. When traditional weaving, knitting, and stitching was reinterpreted through 3D printing, there were apparent limitations in reproducing the characteristics of fabric structures due to differences in the materials and structures of traditional textiles. New physical structures are being developed to break away from merely reproducing traditional textile structures, and to bring out the characteristics of 3D printing technology. As examples of new physical structures, there are the kinematics structure which utilizes the hinge method, mesostructure cellular material, and the N12 disk structure. Such techniques potentially open a new paradigm of fashion and textile structures. Some innovative aspects of 3D printing technology may result in changes in the methods of collaboration, manufacturing, and distribution. Designers are receiving help from specialists of various backgrounds to merge 3D printing technology to create original works. Also, 3D printing not only makes personalized custom designs available, but shortens the distribution channels, foretelling a change within the fashion and textile industry.

• Journal of Korea Game Society
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• 제14권5호
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• pp.137-146
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• 2014

Recently, the games on the market are getting rich and excellent in the category of design and productions. The style and production quality of cut-scenes also have achieved a continuous development, so how to stand out from multiple designs and gain popularity always acts as a challenge to designers. However, such design strategy up to developers will be failed to judge whether or not design achievements are loved by players and thus cannot meet rapidly changing market demands on both in a quantity and quality. Therefore, this study holds that cut-scene design for video games must set out from user-centered design(UCD). According to literatures with respect to product market, we know that Market Pull imposes far more impacts on success in bringing new products to the market than the technology Push, hence players actually determines the success of a game in competitive game market. This study will help to enhance the immersion of playing game, including the interest and standing out the designer's message without distorting the original impression in the game publishing environment.

• The Research Journal of the Costume Culture
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• 제6권3호
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• pp.126-156
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• 1998

The purpose of this study was intended to analyze mechanical beauty of the art style represented on the second half of the 20th century fashion. From the early 20th century, when the mechanical civilization began to develop in full scale, various distinctive styles of art began to emerge by the denial of the traditional artistic style, which is said to be an inevitable consequence fo the 20th century's spirit. That is, the diversified styles of modern art, which has developed in line with the rapid growth of civilizations, experienced environmental pollution, non-humanization and un-individualization. Those phenomena became mental anguish for artists and designers, they have come to meet with changes, by their efforts to find new way. SO, the mechanical beauty is becoming a very important factor arts. Especially, the collage of the Cubism have used as art techniques of positive mechanical beauty. And in the transition from Dada to Surrealism, the objects provided an important harmony, suggesting that all things, even those achieved by chance or presented in new associations or radical dissociations, could be said to have meaning. Pop Art that expressed daily living of spending culture in the post industrial society, scaled up the induction of mass media which was much more realistic than Dada or Surrealism. According to the results of this study, the second half of the 20th century fashion has generated mechanical beauty was examined and plundered by modern art styles. The mechanical beauty of modern art was represented in the modern fashion as the positive and negative formativeness. Above all, the best way that the fashion design should take in the future, is in the search of ways how to restore humanity that was lost due to use of machine, how t develop its merits and how to harmonized with mechanical civilization.

• Science of Emotion and Sensibility
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• 제12권2호
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• pp.233-242
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• 2009

Recently the studies on user-centered design and form-development have become issues of general interest as the key methods for successful design. For form analysis on user it is important needs that an integrated approach of existing methods and development of expert tool for designer. Moreover analysis methods and tools have to meet with the designers needs of visual result, clear direction, concrete formative factor, user's emotional response and designer-friendly interface. This study proposed the main concepts of form analysis tool based on the user's emotional response ; integrated management, variables set-up, visual result of analysis, in-depth analysis with data mining and correlation, and reinforcement of user-centered analysis. Specific analysis tool consists of 5 functions: Project Management, Analysis Frame Set-up, Data Input-output, Basic Analysis, and In-depth Analysis. The feasibility of proposed tool was verified by a case study of mobile phone design in under-graduate class.

• Journal of Fashion Business
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• 제23권3호
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• pp.85-100
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• 2019

This study examines changes in consumer perceptions of fashion shows, which are critical elements in the apparel industry and a means to represent a brand's image and originality. For this purpose, big data in clothing marketing, text mining, semantic network analysis techniques were applied. This study aims to verify the effectiveness and significance of fashion shows in an effort to give directions for their future utilization. The study was conducted in two major stages. First, data collection with the key word, "fashion shows," was conducted across websites, including Naver and Daum between 2015 and 2018. The data collection period was divided into the first- and second-half periods. Next, Textom 3.0 was utilized for data refinement, text mining, and word clouding. The Ucinet 6.0 and NetDraw, were used for semantic network analysis, degree centrality, CONCOR analysis and also visualization. The level of interest in "models" was found to be the highest among the perception factors related to fashion shows in both periods. In the first-half period, the consumer interests focused on detailed visual stimulants such as model and clothing while in the second-half period, perceptions changed as the value of designers and brands were increasingly recognized over time. The findings of this study can be utilized as a tool to evaluate fashion shows, the apparel industry sectors, and the marketing methods. Additionally, it can also be used as a theoretical framework for big data analysis and as a basis of strategies and research in industrial developments.

• Steel and Composite Structures
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• 제32권1호
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• pp.1-19
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• 2019

The aim of the paper is the prediction of the seismic collapse mode of steel storage pallet racks under seismic loads. The attention paid by the researchers on the behaviour of the industrial steel storage pallets racks is increased over the years thanks to their high dead-to-live load ratio. In fact, these structures, generally made by cold-formed thin-walled profiles, present very low structural costs but can support large and expensive loads. The paper presents a prediction of the seismic collapse modes of multi-storey racks. The analysis of the possible collapse modes has been made by an approach based on the kinematic theorem of plastic collapse extended to the second order effects by means of the concept of collapse mechanism equilibrium curve. In this way, the dissipative behaviour of racks is determined with a simpler method than the pushover analysis. Parametric analyses have been performed on 24 racks, differing for the geometric layout and cross-section of the components, designed in according to the EN16618 and EN15512 requirements. The obtained results have highlighted that, in all the considered cases, the global collapse mechanism, that is the safest one, never develops, leading to a dangerous situation that must be avoided to preserve the structure during a seismic event. Although the studied racks follow all the codes prescriptions, the development of a dissipative collapse mechanism is not achieved. In addition, also the variability of load distribution has been considered, reflecting the different pallet positions assumed during the in-service life of the racks, to point out its influence on the collapse mechanism. The information carried out from the paper can be very useful for designers and manufacturers because it allows to better understand the racks behaviour in seismic load condition.

• Architectural research
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• 제21권3호
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• pp.79-90
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• 2019

The ephemeral and temporal nature of pavilions is the underlying motivation that led to the development of this paper. From the beginning of the industrial era through contemporary history, there have been many instances of architects attempting to rethink architectural design in the context of modern social, cultural, and technical imperatives. Today, the leading changes in humanity are accompanied by a revolutionary electronic digital medium. The pavilion has been in an amalgamation of architectural integration since the beginning of human history. World's Fairs/Expos have, since their establishment, served as international presentations of goods and achievements of particular nations. They became a popular stage wherein potential architectural achievements were showcased through the evocative architecture of pavilions. Due to the pavilion's "temporary nature," its coverage includes various perspectives: social, historical, geographical, post-colonial, iconographical, temporal, and ephemeral. It has also served as a receptacle due to its representational value at a given time. The pavilion has offered architectural designers, clients, and visitors a place to use their imaginations. Moreover, the architect's role in creating pavilions cannot be overestimated. Due to fact that they abound in symbolism, contemporary designs, and innovative solutions, pavilions often mirror modern mankind and plan for the next aesthetic revolutions and ideological architectural theories. To understand and appreciate architects' original intentions with their pavilions, this paper focuses on noteworthy pavilions that were created from the beginning of industrialization through the present. It explores and discusses the pavilion's characteristics, highlights the significance of its physical form as generated by a specific theme.