°ÇÃ൵½Ã°ø°£¿¬±¸¼Ò

Architecture & Urban Research Institute

pdf¿ø¹®º¸±â ¿¡·¯ ÇØ°á¹æ¹ý ¹Ù·Î°¡±â



¹®ÇåȨ > ¿¬±¸³í¹® > »ó¼¼

[¿ø¹®º¸±â½Ã ¼ÒºñµÇ´Â Æ÷ÀÎÆ® : 100 Æ÷ÀÎÆ®] ¹Ì¸®º¸±â Àοë

Çѱ¹°ø°£µðÀÚÀÎÇÐȸ|³í¹®Áý 2017³â 10¿ù

³í¹®¸í Çö´ë µðÀÚÀÎÀÇ Ã¼ÇèÈ­ °æÇâ°ú »ç¿ëÀÚ ³»¿ÜÀû ¿µÇâ ¿äÀÎ : ¹®È­Àû, ½É¸®Àû ¿µÇâ ¿äÀΰúÀÇ ¿¬°ü¼º ºÐ¼® / Experience-focused Tendency in Contemporary Design and Influence Factors for Its Development : Analyses of Cultural and Psychological Factors
ÀúÀÚ¸í ÀÌÁ¤¹Î
¹ßÇà»ç Çѱ¹°ø°£µðÀÚÀÎÇÐȸ
¼ö·Ï»çÇ× Çѱ¹°ø°£µðÀÚÀÎÇÐȸ ³í¹®Áý, Vol.12 No.05 (2017-10)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(129) ÃÑÆäÀÌÁö(15)
ISSN 1976-4405
ÁÖÁ¦ºÐ·ù °èȹ¹×¼³°è / µµ½Ã
ÁÖÁ¦¾î üÇèÁ᫐ µðÀÚÀÎ ; »ç¿ëÀÚ ÇàÅ ; »ç¿ëÀÚ Âü¿© ; ¹®È­Àû ¿µÇâ¿äÀÎ ; ½É¸®Àû ¿µÇâ¿äÀÎ ; Experience-focused design ; User behavior ; User participation ; Cultural factors ; Psychological factors
¿ä¾à1 (¿¬±¸¹è°æ ¹× ¸ñÀû) Çö´ë »çȸ°¡ ¸î ³â Èĸ¦ ¿¹ÃøÇϱ⠾î·Á¿ï Á¤µµ·Î ºü¸£°Ô º¯È­ÇÏ°í ÀÖ´Â °Íó·³ µðÀÚÀÎÀÇ º¯È­µµ ¿©·¯ ¸é¿¡¼­ ºü¸£°Ô ÁøÇàµÇ°í ÀÖ´Ù. ÀÌ·± ´Ù¾çÇÑ º¯È­ÀÇ ¸é¸ðµé Áß¿¡¼­ º»°í°¡ ÁÖ¸ñÇÏ´Â °ÍÀº »ç¿ëÀÚÀÇ Ã¼Çè°ú Âü¿©°¡ µðÀÚÀο¡¼­ Â÷ÁöÇÏ´Â ºñÁßÀÌ Á¡Â÷ ³ô¾ÆÁö´Â Çö»óÀ̸ç ÀÌ¿¡ µû¶ó »ç¿ëÀÚ ¿ªÇÒ°ú µðÀÚÀÌ³Ê ¿ªÇÒÀÇ °æ°è°¡ ¸ðÈ£ÇØÁö´Â Ãø¸éÀÌ´Ù. ¼±Áø±¹À» Áß½ÉÀ¸·Î °æÁ¦°¡ ¼­ºñ½º°æÁ¦ Áß½ÉÀ¸·Î ÀçÆíµÇ¸é¼­ ±â¾÷µéÀº üÇ踶ÄÉÆÃÀ» ÁÖ¿ä Àü·«À¸·Î È°¿ëÇÏ°í ÀÖ´Ù. º»°í´Â Æ÷½ºÆ®¸ð´ø ÀÌÈÄ Á¶Çü°ú µðÀÚÀο¡¼­ ÁÖ¿ä °í·Á´ë»óÀÌ µÈ »ç¿ëÀÚ Ã¼ÇèÀ̶ó´Â ¿ä¼Ò°¡ ¾î¶² °úÁ¤À» ÅëÇØ ¹ß»ý, º¯È­µÇ¾ú´ÂÁö¸¦ °íÂûÇÏ¿´´Ù. ¶ÇÇÑ Ã¼ÇèÁ߽ɵðÀÚÀÎ °æÇâÀ» »ç¿ëÀÚ°¡ ¼±È£ÇÏ°Ô ¸¸µå´Â ½É¸®ÇÐÀû ±âÁ¦¿¡ ´ëÇØ ¿¬±¸ÇÏ¿´´Ù. À̸¦ ÅëÇØ µðÀÚÀο¡¼­ »ç¿ëÀÚ Ã¼ÇèÀÌ °®´Â ½É¸®Àû Á߿伺°ú ¹Ì·¡ µðÀÚÀÎÀÌ ³ª¾Æ°¥ ÁÖ¿ä ¹æÇâ¿¡ ´ëÇÑ ¹®È­»çÀû ±Ù°Å¸¦ Á¦½ÃÇÏ°íÀÚ ÇÏ¿´´Ù. (¿¬±¸¹æ¹ý) º» ¿¬±¸´Â ¹®Ç忬±¸¿Í »ç·ÊºÐ¼®À» Áß½ÉÀ¸·Î ÁøÇàµÇ¾ú´Ù. 3Àå¿¡¼­´Â ºÐ¼® ³»¿ë¿¡ ´ëÇÑ ÀÌÇظ¦ µ½±â À§ÇØ °¢ ºÐ·ùº°·Î ¿¹½Ã µðÀÚÀÎ »ç·ÊµéÀ» Á¦½ÃÇß´Ù. 4Àå¿¡¼­´Â ½É¸®ÇÐ ½ÇÇè°á°úµéÀ» º»°íÀÇ ÁÖÀå¿¡ ´ëÇÑ ±Ù°Å·Î¼­ Á¦½ÃÇßÀ¸¸ç ºÐ¼®µÈ ½É¸®È¿°úµéÀ» ½ÇÁ¦ üÇèÁ᫐ µðÀÚÀÎ »ç·Êµé¿¡ Àû¿ëÇÔÀ¸·Î½á ¿¬±¸°á°úÀÇ À¯È¿¼ºÀ» °ËÅäÇÏ¿´´Ù. (°á°ú) üÇèÁ᫐ µðÀÚÀÎ °æÇâÀ¸·Î´Â ºñ¹°ÁúµðÀÚÀÎ, ¼­ºñ½ºÈ­µÈ µðÀÚÀÎ, ÀÎÅÍ·¢Æ¼ºê µðÀÚÀÎ, Ä¿½ºÅ͸¶ÀÌ¡ & DIY µðÀÚÀÎ, User-led µðÀÚÀÎÀÌ ÀÖ´Ù. ÀÌÀÇ ¹ß´Þ¿¡ ¿µÇâÀ» ³¢Ä£ »ç¿ëÀÚ ¿ÜÀû ¿µÇâ¿äÀÎ, Áï Á¶Çü¿¹¼ú»çÀû ¿µÇâ¿äÀÎÀ¸·Î´Â ÆÛÆ÷¸Õ½º ¾ÆÆ®, ¼³Ä¡¹Ì¼ú, ÀÎÅÍ·¢Æ¼ºê ¾ÆÆ®, Âü¿©¹Ì¼úÀÇ ¹ß´ÞÀÌ ÀÖ´Ù. »ç¿ëÀÚ ³»Àû ¿µÇâ¿äÀÎ, Áï ¿¬°ü ½É¸®ÇÐÀû ±âÁ¦µéÀº ÀÎÁö. Áö°¢½É¸®, ÇൿÁÖÀǽɸ®, ¹ß´Þ. »çȸ½É¸®, ¼º°Ý½É¸® Ãø¸é¿¡¼­ ºÐ¼®µÇ¾ú´Ù. üÇèÁ᫐ µðÀÚÀο¡ ¿µÇâÀ» ³¢Ä£ ½É¸®È¿°úµéÀº ÅëÇÕÀû ÀÎÁöü°è È°¿ëÈ¿°ú, Áö°¢Àû ¼øÀÀ°ú º¯È­ Áö°¢, ÀÎÁöºÎÁ¶È­ ÀÌ·Ð, Ç÷οì À̷аú ÃÖÀû°æÇè, ÅëÁ¦°¨ Áö°¢ÀÇ Á߿伺, ¿å±¸À§°è¼³°ú ÀھƽÇÇö ¿å±¸, »çȸÀû ¿å±¸¿Í ÀھƽÇÇö, ÀÌÄÉ¾Æ È¿°ú, È®ÀåÀÚ¾Æ¿Í ÀÚ¾ÆÁ¸Áß°¨ Áö¿øÀÌ ÀÖ´Ù. (°á·Ð) Æ÷½ºÆ®¸ð´ø ÀÌÈÄ Á¶Çü¿¹¼úÀÇ º¯È­¿¡¼­ ¿µÇâÀ» ¹ÞÀº üÇèÁ᫐ µðÀÚÀÎ °æÇâµéÀº ½Ã°£¿¹¼úÀû ¼Ó¼ºÀ» ¸¹ÀÌ Áö´Ò¼ö·Ï, ¶ÇÇÑ µðÀÚÀο¡¼­ »ç¿ëÀÚÀÇ Á÷Á¢ÀûÀΠâÀÛ±ÇÇÑÀÌ ¸¹ÀÌ ÁÖ¾îÁú¼ö·Ï º»°í¿¡¼­ ºÐ¼®ÇÑ ½É¸®È¿°úµé°úÀÇ ¿¬°ü¼º ¼öÁصµ ³ô¾ÆÁö´Â °ÍÀ» °üÂûÇÒ ¼ö ÀÖ´Ù. ÀÌ·± º»°íÀÇ ¿¬±¸°á°úµéÀº üÇèÁ᫐ µðÀÚÀÎÀÇ ÇÁ·Î±×·¡¹Ö ÇÁ·Î¼¼½º¿¡¼­ »ç¿ëÀÚ¸¦ ÀÌÇØÇÏ°í ÄÁÅÙÃ÷¸¦ ±¸¼ºÇϴµ¥ À¯¿ëÇÑ Á¤º¸°¡ µÉ °ÍÀ¸·Î »ý°¢ÇÑ´Ù.
¿ä¾à2 (Background and Purpose) The world is changing in an unpredictable way and at an unpredictable speed. So is the change in design in many aspects. Among all the new aspects of contemporary design, this paper pays attention to the role of user experience and the dissolution of the boundary between a user and a designer. In developed countries, the service economy has become the core of economic activities. With this change, companies have been using experiential marketing as their main marketing strategy, because it focuses more on the service activities related to the product rather than the physical product itself. Contemporary designs accepted this change, and are going in the direction of incorporating user's experience and participation as the main focus of the design. This paper studies the development of this experience-focused design tendency and influence factors for its development. It analyzes the cultural and psychological causes for this design tendency, so that designers can recognize the importance of these factors and use them in the programming process of their design works. (Method) The study has been conducted with the methods of literature review and case analysis. In Chapter 3, exemplary artwork or design cases for each classification were provided. In Chapter 4, psychological experiments were provided as the supporting information for analyses. The results of Chapter 4, which are nine psychological theories regarding experience-focused design, were applied to real design cases so that they can be checked for their validity and usefulness. (Results) The categories for the experience-focused design are immaterial design, service design, customized and DIY design, and user-led design. The cultural influence factors (post-modern artistic development by avant-garde artists) include performance art, installation art, interactive art, and participatory art. The psychological influence factors are studied in aspects of cognitive, behavioral, social, developmental, and personal psychology. They consist of nine psychological theories; the effect of integrated cognitive system, sensory adaptation and the perception of change, cognitive dissonance theory, flow theory and optimal experience, the importance of a sense of control, need hierarchy and self-actualization, social need, the IKEA effect, and the extended-self theory. (Conclusions) Experience-focused designs have been directly influenced by post-modern artistic activities. Therefore, they have been incorporating time, change, and user commitment as artistic media. The psychological effects which were analyzed in this study can have more influence when the design incorporates more of these media. The results of this study will be useful for designers in creating the contents of experience-focused design in the programming process.
¼ÒÀåó Çѱ¹°ø°£µðÀÚÀÎÇÐȸ
¾ð¾î Çѱ¹¾î
¡á Ãßõ¹®Çå (ÀÌ ¹®Çå°ú °°ÀÌ º» ¹®Çå)
Çö»óÇÐÀÌ °ÇÃàÀ̷п¡ ¹ÌÄ£ ¿µÇâ°ú Çö»óÇÐÀû °ÇÃ༳°è ¹æ¹ý·ÐÀÇ °¡´É¼º¿¡ ´ëÇÑ ¿¬±¸
±è±¤¹è(Kim Kwang-Bae) - ´ëÇÑ°ÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.23 n.12 (200712)
·½ ÄðÇϽº¿Í Ä«Áî¿ä ¼¼Áö¸¶ °ÇÃà¿¡¼­ ³ªÅ¸³ª´Â ÇÁ·Î±×·¥ÀÇ Á¶Á÷°ú °ø°£±¸¼º ¹æ¹ýÀÇ ºñ±³ºÐ¼®
±Ç°æ¹Î ; ±èÁ¾Áø - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : v.16 n.6(Åë±Ç 65È£) (200712)
ÆäÅÍ ÃãÅÍ °ÇÃà¿¡¼­ ³ªÅ¸³­ °ÇÃàÀÇ Á¸Àç¹æ½Ä¿¡ °üÇÑ ¿¬±¸
À̸íÀç - ´ëÇÑ°ÇÃàÇÐȸÁöȸ¿¬ÇÕȸ ³í¹®Áý : v.11 n.02 (Åë±Ç38È£) (200906)
[ƯÁý] ±¹³» ģȯ°æ °ÇÃ๰ »ç·Ê ºÐ¼®
Á¤Áö³ª ; ±è¿ë¼® ; À̽¹Π- ±×¸°ºôµù(Çѱ¹±×¸°ºôµùÇùÀÇȸÁö) : v.9 n.1 (200803)
ÇÇÅÍ ÁíÅÍÀÇ ½æ ¹ßÁî¿¡ ³ªÅ¸³­ °¨¼º µðÀÚÀÎ Á¢±Ù¿¡ °üÇÑ ¿¬±¸
¿ìÁö¿¬ - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : v.19 n.3(Åë±Ç 80È£) (201006)
ÇÁ·Î±×·¥°ú ´ÙÀ̾î±×·¥ÀÇ Àû¿ëÀ» ÅëÇÑ °ÇÃà ÇüÅ »ý¼º ¿¬±¸
À±Çý°æ(Yoon Hae-Kyung) ; ±èÁÖ¿µ(Kim Ju-Young) ; È«¿øÈ­(Hong Won-Hwa) - ´ëÇÑ°ÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.26 n.02 (201002)
¹®È­±â¹Ý µµ½ÃÀç»ýÀ» À§ÇÑ ÁöÇϵµ½Ã°ø°£ ȯ°æ°èȹ¿¡ °üÇÑ ¿¬±¸
±è¼ºÁØ ; ¹ÚÀº°æ ; ÃÖ¼ÒÈñ ; ÀÌȿâ ; ÇϹ̰æ - Çѱ¹¹®È­°ø°£°ÇÃàÇÐȸ ³í¹®Áý : Åë±Ç Á¦28È£ (200912)
°ÇÃࡤµµ½Ã°ø°£ÀÇ Çö´ëÀû °ø°ø¼º¿¡ °üÇÑ ±âÃÊ ¿¬±¸
¿°Ã¶È£ ; ½É°æ¹Ì ; Á¶Áعè - ¿¬±¸º¸°í¼­(±âº») : 2008 n.8 (200902)
[½Ã·Ð] 4Â÷ »ê¾÷Çõ¸í ½Ã´ë, °ÇÃàÀÇ ´ëÀÀ
À̸í½Ä(Lee, Myung-Sik) - °ÇÃà(´ëÇÑ°ÇÃàÇÐȸÁö) : Vol.61 No.05 (201705)
¾îÆ÷´ø½º ÀÌ·ÐÀÇ º»Áú°ú µðÀÚÀÎÀû¿ë¿¡ °üÇÑ ¿¬±¸
ÀÌÅ¿¬(LEE Tae-Yeon) ; À̽ÂÈÆ(LEE Seung-Hoon) - Çѱ¹°ø°£µðÀÚÀÎÇÐȸ ³í¹®Áý : Vol.05 No.04 (201012)