• International Journal of Contents
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• 제7권4호
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• pp.84-89
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• 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.

• 한국가구학회지
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• 제22권3호
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• pp.183-189
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• 2011

This is a study on methods for designers of furniture and products to generate and develop design concept in consideration of design and existing conditions of the space when they design street furniture. In particular, in case when they participate in a process of designing new space, this study aims to reveal methods generating strategic elements and basic ideas for designing street furniture through cases study of projects by understanding and analyzing concept of overall space design and by extracting artistic elements for deployment of specific designs. First, Design DNA, which decides overall flow of design concept of street furniture, is extracted through analyses of basic concepts of space design. Next, by applying 3V Design Process, alternatives of the concept generation are suggested through methods of storytelling and design language under the two approach methods of verbalization stage and visualization stage. Also its methods were explored through suggestion of designs by developing each idea of the respective concepts into specific design vocabulary.

• 한국가구학회지
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• 제23권3호
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• pp.229-241
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• 2012

Kuramata Shiro's design has been evaluated as an unseen type of beauty. He created totally different aesthetics from functional furniture by utilizing glass, acrylic, and expanded steel mesh which usually are inappropriate for making furniture. Kuramata told that his design always starts from zero status. By doing so, he could be free from the existing notion and form of furniture. This means that every function and every form must be based on his own understanding and experiment in order to produce newness. Owing to these efforts, we can regard his design as artworks. Kuramata tried to bring forth formative lines inside contour of furniture rather than to deform only the formal outlines of furniture. These lines are very delicate and sometimes ephemeral. But they establish formal potentiality of phenomenological being of beauty. Also those lines are built from humble industrial material but they open the truth of thing itself and introduce the beauty to field of aletheia. At the same time, transcending limitation of function and use, they leave pure form and temporariness. So, lines become a field of Heideggerian rift which produces embodiment of form. We can appreciate his design through these lines that are relatively thin but vivid enough to follow his original world of art.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• 디자인학연구
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• 제14권4호
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• pp.57-64
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• 2001

한국의 자동차산업은 1980넌대와 1990년대 초까지 고도 성장기를 거치면서 자동차메이커의 수가 일곱 개에까지 이르는 등 급격한 양적 팽창을 하였으나, 1990년대 후반 이후에 밀려온 자동차산업에서의 전 세계적인 구조조정의 영향으로 규모의 경제를 실현하면서 내실을 기하기 위하여 인수와 합병 등의 방법을 통하여 변화되기에 이르렀다. 산업규모의 양적인 팽창에 치우쳤던 과거의 발전 방향에 비추어 볼 때, 단순한 기계제품, 또는 산업제품 이라기보다는 문화적 인식과 조형적 접근이 요구되는 자동차라는 독특한 공업제품은 그를 뒷받침 할만한 한국 사회의 전반적인 자동차에 대한 문화적 이해가 상대적으로 적었다. 이것은 자동차 산업을 수출 중심의 경제 발전을 위한 도구로써 인식한데서 기인한 한계로 볼 수 있다. 오랜 역사와 굴지의 규모를 가진 자동차 선진국의 예에서 살펴보듯이 자동차는 단순한 기계제품이나 상품으로써 가 아니라, 문화적 배경을 가지는 생활 도구로써의 접근이 요구되며, 그러한 인식을 통해서 세계시장에서 독자성을 가질 수 있는 품질과 디자인의 개발이 가능하다 글로벌 경쟁 체제에 들어간 21세기 한국의 자동차디자인과 산업의 당면과제는 외곽상품의 모방적인 개발 방식에서 탈피하여 한국 사회만의 문화적 특성을 정립시켜 대중적 인식 확대를 통한 독자성의 확보이며, 이를 위한 사회의 간접부분으로써 박물관의 역할이 더욱 중요하다.

• 대한지구과학교육학회지
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• 제6권1호
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• pp.69-77
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• 2013

The study aims to figure out pre-service elementary teachers' knowledge understanding on 'stratum and rock' as well as teaching-learning types on the same topic. A total of 65 seniors in an advanced science education course at B University of Education joined the research to fulfill the purpose above. With PCK classification framework, the study examined pre-service teachers' knowledge understanding on 'stratum and rock' while it analyzed how the teachers would teach the given topic to students. The results of the study are presented as follows. First, it was observed that the pre-service elementary teachers have a great understanding on 'stratum and rock' that would be taught via a science textbook for elementary fourth graders. However, regarding terms in 'shale and limestone', they appeared to have a relatively short understanding. Second, PCK elements of the pre-service teachers related to 'stratum and rock' were analyzed and according to the results, the teachers would be interested in teaching model selecting in the teaching-learning strategy field while they would be well aware of how important it is for them to perform an experiment in a teaching process. The teachers also appeared to understand that the teacher question can be mutual complementary during class. However, it turned out that the teachers would have a very much low understanding on learners' prior knowledge as they particularly believe that learning could be significantly affected by the learners' perception level as well as their learning interest and motive. Third, the pre-service elementary teachers were told to design teaching plans on 'stratum and rock' so that the study could find out what learning-teaching methods the teachers would adopt to teach the topic. It was learned that the teachers would proceed with the class basically by giving the learners a descriptive explanation on the topic and also by using pictures and drawings to enhance the learners' understanding during the class.

• 한국실내디자인학회논문집
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• 제5호
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• pp.59-65
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• 1995

This thesis focuses on a study of design science, which is of a disciplinary character. And the purpose of such a study is to suggest a new direction to develop aesthetics through an empirical research into environmental psychol-ogy, human behavior, design thought, and the visual qual-ity of environment. The author of this study, since recognizing the necessi-ty of understanding environmental aesthetics as well as the necessity of aesthetics, has done an elementary study of empirical aesthetes, and then obtained some facts as follows: First, it is possible to analyse the visual characteristics immanent in the interrelations between human and envi-ronment by means of applying both the information the-ory of formal perception and expressional value and the perceptual theory of ecology to environmental aesthetics. Second, formal aesthetics is a science about the form and structure and in the meantime, symbolic aesthetics is a science about the environmental patterns giving pleas-ure to mankind and its associative meanings. Accordingly it is same as providing some aesthetic value to the ob-ject of environment design to apply some empirical data of visual quality to environmental design. Through such a process, users are provided or delivered with diverse, visual effect. In conclusion, environmental aesthetics is worthwhile to study, and its purpose is that it, as a framework of use-ful knowledge to the creation of the environment superi-or in quality, be applied to design.

• 패션비즈니스
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• 제24권6호
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• pp.89-108
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• 2020

Wearable bags are body-worn bags, integrated with clothing or accessories, and they can liberate the wearer's hands, offering enhanced mobility. The main purposes of this research were: a) to analyze wearable bag design cases ranging from historical costumes to contemporary fashion; b) to develop wearable bag designs using various defined design methods, styles, and features and prototypes; and c) to evaluate people's satisfaction with the developed wearable bags and their differences among people with different innovativeness levels. Thus, the wearable bag design cases involved in this study were researched and collected from previous literature searches. then, the wearable bag designs were developed and prototyped. Next. an evaluation survey was conducted using questions that assessed satisfaction with overall design and function, use and purchase intention, and consumer innovativeness. The results are expected to enhance the understanding of wearable bags and provide guidelines for designers who develop wearable bags. The results indicated that 80% or more of the surveyed people were satisfied with the design and function of the developed wearable bags. They perceived that the bags were easy to use and useful, and wanted to use and purchase them. Consumers with high social, functional, and hedonic innovativeness were more satisfied and perceived these wearable bags as easier to use and more useful and wanted to use and purchase them more than consumers with low innovativeness. This study can be helpful to designers developing wearable bags by providing a better understanding of wearable bags and consumer perceptions.

• International Journal of Advanced Culture Technology
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• 제6권2호
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• pp.107-116
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• 2018

In the past, design has been recognized as a means to determine colors, shapes, and functions Recently, however, it has been accepted in a wider sense, namely designing the entire service, including product and user experience design. In this way, in addition to creativity and expressive power that designers have as their main competence, according to the expansion of this design object, designers are required to have comprehensive abilities in related fields and accompanying technical professional abilities. If designing as a technology application as a direction toward this situation, design education can be carried out by approaching technology as a method of expression or design subject. It can also be an effective alternative towards improving the understanding of technology. Meanwhile, many small microcontroller board products with advanced functions and multi-functional specialized programming integrated development environments (IDEs) are becoming widespread due to their open source, low cost, and scalable features. However, students in the design department who lack the basic knowledge of science and engineering have difficulties learning, which requires considerable time and is required for practical use. From this point of view, we have made advancements in the technical understanding of design education by conducting fundamental research to the effectiveness of microcontroller-based prototyping tools as means of expression. We also conducted basic education of microcontroller boards for a certain period of time on students who majored in design in conjunction with the basic survey and investigated the obstacle factors using a questionnaire. Through these surveys, we have confirmed the necessity of designing microcontroller boards of low difficulty, which simplify the coding process that can act as a barrier in difficulty for design students to apply smoothly in design education. In addition, we intend to carry out a basic study on the guideline of microcontroller design for design education and composition of education programs.

• 디자인학연구
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• 제13권1호
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• pp.87-100
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• 2000

본 논문은 디자인 사고에 대한 이해를 바탕으로 모던 디자인 현상에 자리하는 디자인 사고를 고찰하고 있다. 디자인이라는 언어를 통해 일상 삶을 변화시키고자 했던 모던 디자인의 기획은 기하학적 조형과 기능에의 집착, 기계의 적극적 수용 등과 같은 구체적 현상으로 발현되었다. 그 이면에는 '효율과 편리에 대한 집착', '환원된 필요를 기능과 대응시키는 전략', '전문가 시스템을 바탕으로 한 부분의 합이 전체라는 믿음', '사적 공간과 공적 공간을 구분하는 것과 같은 이분법적 사고'들이 자리하고 있다. 수공예적인 생산양식에서 기계적 생산양식으로의 이행과 자아에 대한 인식 등이 가능했던 사회 분위기가 이러한 디자인 사고를 가능하게 하였다.