• 한국전자파학회:학술대회논문집
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• 한국전자파학회 2003년도 종합학술발표회 논문집 Vol.13 No.1
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• pp.213-218
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• 2003

Because of the development of digital technology, modern digital instrumentation & control systems are being innovativly developed in industrial plants. Whereas, many analog systems are still being used in nuclear plants, because of the demerits of digital equipment. As known, the demerits of digital equipment are the uncertainty and weaknesses in ambient environments such as smoke & electromagnetic interference In an Integral Reactor, a digital I&C system will be composed of microprocessor, memory and network card. Designers will apply new technique for digital equipment. Thus, it is important for digital I&C systems to operate according to designed functions & performance in the ambient environments during a life cycle. Digital I&C systems should have tolerance in such environments and environment qualification should be concluded To acquire electromagnetic interference qualification of digital equipment, this paper suggests an EMI test requirement. Designers should consider the electromagnetic compatibility and test digital equipment according to each test procedure. This paper involves an EMI test requirement and the results analysis of EUT(Equipment Under Test). Test result analysis will be used as electromagnetic compatibility design guides for Integral Reactor I&C systems.

• 한국가구학회지
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• 제27권2호
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• pp.80-90
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• 2016

The idea of Sustainable, first mentioned in "Our Future (Bruntdland)" from the United Nations report released in 1987 has been highly affect design disciplines in developed countries in 21st century. It relocated industrial society and structure's attentions to nature and recourse conservation and reuse. Designed and manufactured products eventually disposed and it leads to waste of resources as well as creates environmental issues. Unfortunately, vast majority of designers starts designing without anticipation of this matter and produce more believing this leads to more sales. However shorter life of a product will create bigger increase of resource consumption and waste than, importance of re-usage and recycle will eventually increase. In modern furniture industry metal and plastics are frequently used beside wood that material has been diverse than in past. However, there are lack of plans and regulations of re-usage of those material due to difficulties of separating each different materials and collecting due to it's size. This study would like to look into recycling rate, methods and usage of three major materials (wood, metal, plastic) that is typically used in current furniture industries. Furthermore, see the potential of sustainable furniture by analyzing furniture practices made by each different recycled material from old furniture and what designers should consider to achieve feasibility of sustainable furniture.

• 디자인학연구
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• 제16권1호
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• pp.199-208
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• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.

• 한국정밀공학회지
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• 제21권9호
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• pp.135-141
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• 2004

Anti-shock performance is one of the most important design specifications of TFT-LCD modules. Since they are adopted fur major display units of many mobile applications such as lap-top PCs, cellular phones, and palm pilots, they are able to accommodate and endure high level transient mechanical energy inputs. For the reasons, not only the LCD unit manufacturers but their customers like PC makers perform a series of strict impact/drop test on the units. Currently, designers are mostly relying on their own trial-error based experience for the anti-shock design. Thus those designs depending on only experience may result in disqualification from the drop/impact test during final product evaluation. Those shock failures of any new designs are prohibitive for both LCD and PC manufacturers. In order to avoid this problem, many designers are focusing on the development of computer-aided design tools that is directly connected to shock simulation capabilities and then shock-proof design cycle time could be significantly reduced. Development of an integrated CAE system for the shock-proof design is presented in this article. At every stages of the development of present work, practical industrial applicability and mass production feasibility are seriously considered and tested so that the system is to be used in the LCD design engineering field.

• 한국의상디자인학회지
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• 제21권1호
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• pp.115-129
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• 2019

This study aimed to develop methods for technical design education that can be intimately connected to the industrial field. For this, technical design jobs performed in the fields of the domestic and foreign fashion industries and their required competences were examined, and educational methods based on constructivism were proposed. Korean fashion technical designers' works were identified, and then the fashion technical designer's responsibilities and qualifications were collected and analyzed from global employment sites. On the basis of the collection and analysis, hands-on staff members and education experts were interviewed about required competences for the actual business and possible suitable methods for education. The results of research showed that in the case of the US, job systems and relevant duties for technical designers were clearly defined by clothing brands, whereas in Korea, businesses were systematized around vendors, not brands, and as a result the businesses of technical package composition and specification proposals were not performed properly. This study organized the contents of technical design education into fit development and specification, the composition of technical design packages, the evaluation and approval of samples, fit schedule management and fitting, block pattern setting and pattern correction, sewing specifications appropriate for styles and materials, grading, technical terms, and production management. As for the technical design education models, the cognitive apprenticeship model, resource-based learning, the problem-based and anchored model, and the problem-based and resource-based models were proposed.

• 한국인터넷방송통신학회논문지
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• 제22권4호
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• pp.9-16
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• 2022

본 연구는 게임디자이너의 색채인식에 대한 현황을 파악하고자 실무디자이너 대상으로 색채활용에 대한 설문을 실시하고 산업내에서의 인식정도는 선행연구를 통해 살펴보았다. 색채활용인식은 측정이 가능한 정량분석으로 타당성을 확인하였다. 설문 결과는 1위 디지털색채, 2위 색채조화, 3위 색채지각, 4위 색혼합, 5위 색채심리, 6위 색이름 으로 분석되었다. 이 결과 게임산업을 위한 실무 중심의 색채에 대한 재교육의 필요성과 게임관련 학과의 색채 교육에서 1~4위의 색채분야는 집중적인 교육이 이루어져야 할 것으로 보인다. 이번 연구가 향후 게임 산업의 디자이너 양성을 위한 색채 교육 연구의 기초자료로 활용되기를 기대한다.

• 디자인학연구
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• 제16권2호
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• pp.243-254
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• 2003

본 연구는 제품조형에 대한 언어적 연구로 디자이너들의 연구사례의 유형을 분석하고자 했다. 특히 제품조형의 언어적 개념을 도구와 사고의 관계에서 언어적 관계성을 통해서 창출하고자 했다. 언어적인 영역과 비 언어적인 영역에서 조형언어의 역할이 어떡해 활동하고 있는지를 분석하였다. 특히 디자인 프로세스상에 형성되는 조형언어의 역하로 조형해석과 조형개념 창출 즉 아이디어 창출에 대한 디자인 프로세스의 관계성을 파악하였다. 이러한 조형언어가 디자인 사적인 측면에서의 기원과 최초 연구가(EnzoMari)의 연구사례를 제시하였다. 또한 디자이너와 디자인 관련 학자들의 조형언어에 대한 관심을 언어적 측면에서의 다양한 요소로 나누어 분류하였다. 또한 이러한 분류과정을 통해서 제품과 관련된 추상적 이론과 시스템적인 연구보다 구체적인 실무의 사례와 개별화된 제품조형언어에 대한 연구의 필요성을 가지고 이러한 측면을 강조하여 상호문화적인 측면에서 개별화된 실제 제품의 조형 언어의 차이와 관심의 차이 그리고 상호공존 할 수 있는 제품조형언어의 개념 창출을 향후 연구과제로 제안한다.

• 디지털콘텐츠학회 논문지
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• 제19권3호
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• pp.479-487
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• 2018

최근, 4차 산업혁명의 도래에 따라 다양해진 산업기반과 안정된 고용시장은 대도시 중심의 제조업에 관한 관심으로 이어지고 있다. 서울의 제조업의 부가가치 및 제품의 경쟁력을 높이기 위해서는 특화된 스마트 기반의 기술 및 생산의 확산, 기획과 생산 유통에 따른 여러 주체들 간의 협업 체계의 조성이 필요하다. 본 연구에서는 서울시 동대문 일대 도심제조업의 활성화와 디자이너들이 직접 생산 가능한 인프라 구축을 위한 서비스를 기획하고 이를 어플리케이션으로 개발하였다. 제안하는 콘텐츠는 자신만의 개성 있는 물건을 제작하고자 하는 제작자들에게 동대문, 청계천, 을지로 일대에서 재료를 구입할 수 있는 장소 및 가공업체의 정보를 제공하는 체험 형 어플리케이션이다.

• 복식
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• 제33권
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• 감성과학
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• 제12권1호
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• pp.87-96
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• 2009

디자인 조형화 과정에 있어서 최근에는 소비자들의 참여가 점차 늘어나고 있는 추세이며, 소비자들은 제품의 형태에 대한 직접적인 평가나 제안을 하기도 하며, 기업에서도 이러한 소비자들의 참여를 유도하기 위한 다양한 방안을 제시하고 있다. 하지만 근본적으로 제품의 형태를 다루는 데에 있어서 소비자와 디자이너는 어느 정도의 시각 차이를 가지고 있으며, 이는 곧 제품 조형화 과정에 있어서 소비자와 디자이너의 효과적인 커뮤니케이션에 방해요소로 작용하고 있다. 이를 해결하기 위해 소비자와 디자이너의 제품 형태에 대한 감성반응에 대한 특징을 통해 소비자의 감성반응을 이끌어 낼 수 있는 효과적인 가이드라인을 알아보는 방법을 연구하였다. 이러한 소비자와 디자이너의 제품 형태에 대한 감성반응을 알아보기 위한 실험을 진행하였는데, 먼저 제품 형태 기반의 감성 이미지 어휘에 대한 정립을 진행하였다. 정립된 이미지 어휘를 기반으로 각각 소비자와 디자이너에게 동일한 실험을 진행하였다. 실험 결과, 소비자와 디자이너의 형태에 대한 감성 반응은 유의한 성향을 띄게 되는데 이 때 디자이너가 소비자에 비해 보다 극적인 반응을 나타내는 특징이 나타났다.