• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1997.11a
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• pp.63-68
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• 1997

본 연구에서는 직물 디자인의 시각적 요소와 관련된 감성 모형을 제안하고, 아울러 감성 모형을 구성하는 과정에서 사용될 수 있ㅅ는 대안적인 방안을 제시하고자 한다. 이를 위해 설문 조사와 관련 잡지, 신문, 사전 등을 통한 광범위한 어휘 수집이 이뤄졌으며 수집된 어휘는 1,000여 개였다. 수집된 어휘에 대해 이해도 및 적절성 평가를 실시하여 직물 제품과 관련된 감성을 표현하기에 부적절하거나 이해하기 어려운 어휘들을 제거하여 360개의 감성 어휘로 정리하였다. 사용 빈도가 높은 어휘 108개를 이용하여 자유 연상과제를 실시하였으며 그결과 어휘들 간 관계에 대한 연결망을 그려낼 수 있었다. 어휘망에서 중심적인 대표어 역할을 하는 18개 어휘를 추출하여 1차로 유사성평정을 실시하였으며 다차원 척도법으로 분석한 결과 어휘들 간 관계를 표현하기 위해 필요한 차원은 네 개였다. 1차로 구성된 모형의 타당성을 확인하기 위해 추가로 각각 20개씩의 어휘를 새로이 추출하여 2회에 걸쳐 유사성 평정을 실시한 결과, 직물 디자인의 시각적 요소와 관련된 감성을 모형화하기 위해서는 세 개차원이면 충분하다고 생각된다.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.75-82
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• 2010

The purposes of this study are to present the criteria for a sensibility rating scale for measuring the general public's perception of museums' spatial environment, particularly lobby space, through an empirical analysis; and to clarify the characteristics of the presented rating scale in terms of each rating element and factor. For this study, a survey was conducted during September 11-17, 2010, and a total of 370 museum visitors participated in the survey. A sensibility rating scale used for the survey consisted of a total of 32 adjectives selected from a literature review of previous studies. To specify the dimensions of semantic space using the semantic adjectives, words with opposite meanings were analyzed with the semantic differential technique developed by Osgood et al. Using SPSS, a reliability analysis, factor analysis, and cluster analysis were conducted on the data obtained from the survey. The results of this study can be summarized as follows: According to the general public's perception of museum lobbies, five factors were found from the 19 semantic ratings of the Gyeonggido Museum of Modern Art and the 20 semantic ratings of the Seoul Museum of Art, respectively. In the case of Gyeonggido Museum of Modern Art, three additional semantic words of 'orderly', 'open', and 'original', which did not appear in the case of Seoul Museum of Art, were discovered. In the case of Seoul Museum of Art, more detailed semantic words such as 'restrained', 'ordinary', 'concrete', and 'intellectual (rational)' were obtained. Five semantic elements, which describe the two museums, were: Feelings of 'pleasantness', 'value, 'usage', 'aesthetics', and 'materials'. According to a comparative analysis of the two lobby spaces in terms of semantic rating elements, Gyeonggido Museum of Modern Art was perceived to be an orderly, original, open, soft, and female-like space, whereas Seoul Museum of Art was perceived to be aesthetic, restrained, concrete, realistic, intellectual and rational. In the coming years, the results of this study will serve as valuable data for constructing a sensibility rating scale for evaluating spatial environments of museums.

• Proceedings of the Korean Society for Quality Management Conference
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• 2004.04a
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• pp.490-495
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• 2004

• Journal of the Ergonomics Society of Korea
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• v.18 no.2
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• pp.91-102
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• 1999

There are various kinds of good feelings in indoor environment such as comfort, pleasure, delight, refreshment, geniality, etc. Each feeling is interrelated with other complex elements of senses such as warmth, coldness, calmness, clearness, brightness, etc. In this paper, we described what is good feeling in indoor environment, and developed elements of good feelings using Emotion & Sensibility engineering approach. Resultant elements of good feelings were "comfort," "refreshment," and "freshness." Secondary, we investigated the relationships of these elements with certain elements of senses. "Comfort" is related with "warmth, calmness, brightness, and very clearness in indoor air." "Refreshment" and "freshness" are related with "coldness, moderately calmness, very brightness, and very clearness in indoor air." The relationships were formulated as a fuzzy model. By applying human intuition to this model, we could determine physical ranges of "comfort, refreshment, and freshness."

• Science of Emotion and Sensibility
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• v.10 no.3
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• pp.393-402
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• 2007

The purpose of this study is to provide the design direction based on consumer sensitivity through the structure between product design preferences - sensitivity image - design elements. For the purpose, we selected men's shaver products for this study subject and collected 164 shavers' pictures released between 2001-2007 years. Then, we carried out a pilot test for collection of sensitivity images about shavers, made a survey using semantic differential method and analyzed the survey. According the result, consumers preferred the sensitivity images "luxury, attractive, stable", design elements satisfied the preference images were "form of body is not a circular arcs or a polygon, material is steel, button is push style, and a color of body is not brown." This study can provide a base of the causal relationship between design preferences - sensitivity image - design elements and a design process to predict consumer sensitivity-oriented design.

• Science of Emotion and Sensibility
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• v.8 no.3
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• pp.253-263
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• 2005

In this study, the basic purpose was to identify the characteristics of the perception response of the elements that have an influence on the information search process for an assessment of product preference. Also, the relationship between the characteristics and the preference of products were reviewed in terms of the experience of the use of products. For this, photos of mobile phones and proposal-type products were selected and the experimental stimulant and experiments were conducted in two steps. In the first experiment, observations were made on the photos of the proposed products and they were arranged in the order of preference. In the second experiment, the part with the first attention in the preference assessment was marked by using the product photos that were previously selected and ranking them from 1 to 10. Two conclusions were obtained from the results of the experiment. First, the experimental memory information with the experience of the use of the products activates an interpretational response to the various constitutional elements included in the object for conception in the process of a preference rating. Second, no product use experience induces the reaction that perceptually accepts the esthetical elements included in the object for perception, regardless of preference.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.259-268
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• 2010

This modern society is said to be more typical of an emotional society. In such a society, emotional design adds value to products, hence bringing about value-enhanced products. Despite many claims of little substance about emotional design, there have been only a few researches that have identified what criteria to be applied to distinguish between emotional products and generic products or even have clearly defined what emotional products are. This leads to a clear need for providing more definite criteria for defining and classifying design elements useful and available for users. To fill the gap, the purpose of this study is, first, to explore the relationship between evaluation elements for creative design and emotional design, and, based on that, identify some of the most importantly valued elements, and secondly, to examine how the images importantly used for expression relate to creativity evaluation elements according to classified types of design. In this study, chosen products were presented to selected users so that they can choose what they think possesses emotional design elements. Then the products so chosen were classified according to design type for examination of their respective relationship with creativity evaluation elements. In addition, the identification was performed of perceived design images about the selected products and the relationship between those images and creativity evaluation elements. This study is expected to provide a chance to be aware of the fact that essential creativity evaluation elements can vary depending on changing times, environments, and users, and as well, to offer an insight into what images design should be possessive of for it to be preferred by consumers.

• Science of Emotion and Sensibility
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• v.11 no.1
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• pp.91-104
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• 2008

This study searches for an abstract aesthetic dimension that has an important response to preference by finding products excluded in past studies on aesthetics. Furthermore, the adjective image languages are examined, grouped and examined in order to also take into account the dimensions that are regarded as important for the selected product. Based on this, the preference trends will be inferred and the level of aesthetic dimensions that are import in the product will be found and presented based on its preference to create an accurate objective point. Based on the values of the levels of the aesthetic preference types and aesthetic elements found by this and presenting the preferred types in the design process, the objective of this study is to create designs with small chance of failure. In addition, it attempts to present a new direction for research of aesthetic dimensions.

• Journal of the Korean Dietetic Association
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• v.13 no.1
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• pp.38-49
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• 2007

The purpose of this study was to determine the attributes and factors of brand personality for contract foodservice management companies. Self-administered questionnaires were distributed to five students at universities operating under the top five companies in contract foodservice management. The following statistical analyses were conducted for the data assessment: descriptive analysis, t-test, ANOVA, reliability analysis, and factor analysis, using the SPSS Win(12.0) package program. From these analyses we divided a company's brand personality into the following five functional and emotional elements: sensibility, sincerity, confidence, competence, and excitement. Based on these five elements a total of 26 scales were developed to measure brand attributes of the companies. The variance was explained by 19.29% of sensibility, 17.65% of sincerity, 15.71% of confidence, 14.06% of competence, and 13.62% of excitement. The calculated Cronbach's alpha was more than .90 for all the scales measuring the five attributes, indicating good internal consistency. There were significant differences in sensibility(p<.01), sincerity(p<.001), creditability(p<.01), competence (p<.001), and excitement(p<.001) among the companies. In regards to overall brand personality, company a had a higher mean score for sincerity, while the other companies had higher mean scores for competence. Among the brand personalities, 'confidence' had the highest mean score with 3.36, followed by 'cooperation' (3.17), 'successful'(3.12), 'leadership'(3.11), and 'down-to-earth'(3.02).

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.78-86
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• 2014

Lighting in indoor space is being changed to system lighting converged with IT technology. Office space lighting with incandescent lamps and fluorescent lamps was completed through overall lighting plan by illumination in most cases, but convergence between LED lighting and IT technology enables the technology of responding to user requirements to be realized. Optical physical quantity suitable for humans and the lighting environment in accordance with user's sensibility, based on space function and user's behavior, would contribute to the improvement of service productivity, energy reduction, and enhancement of emotional satisfaction by providing user optimized lighting solution. Thus, user-customized system lighting guidelines to be applied with integration indicators of optics and sensibility are required. For the design elements required by users, environmental factors, product characteristics, optical characteristics, and sensibility factors are drawn from the design cases for office space and the survey, and the design check list and evaluation indicators are considered to reflect the requirements in the design and requirement indicators to give integrated satisfaction for optics and sensibility are developed. Purpose-centered design method from the user's viewpoint is applied to function-focused design through scenario, and it should be applied flexibly, as the new lightning design method solutions, to the concept design stage of space lighting design and device development. This paper, therefore, presents user-customized guidelines by pursuing the optics and sensibility evaluation and design method combining the requirement conditions and scenario, to be used for lighting content development and design.