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혁신 제품의 개념 정의를 통한 제품디자인 구성요소별 개발 방향에 관한 연구
오승호 ( Oh Seung Ho ) 한국상품문화디자인학회 2023 상품문화디자인학연구 Vol.72 No.-
Innovation has become an absolute and ultimate goal for companies to survive in a market environment where product function and design are being upgraded. However, even within the company, there is no definition of the concept of innovation in product and product design, making it difficult to set a clear development direction in the development of innovative product design. The purpose of this study was to clearly define innovative and innovative product designs in product design fields such as home appliances and IT, and to propose specific and practical ways to develop innovative product design. To this end, the concept of innovation from the theoretical perspective used in various fields was first identified, and the concept of innovative product design from the near future technological perspective was redefined through ICT, home appliance-oriented technology and product trend. Concepts and needs of innovative product design, problems and improvements in the current development process were derived through FGI, and product design elements were reclassified into style element, CMF element such as product color and, material, and usability element were proposed. In addition, the direction of development for each element for the development of innovative product design was proposed as a conclusion of the study through the researcher's product design development cases.
IMPLICATIONS OF DESIGN INNOVATION AND DESIGN EXPERIENCE ON CUSTOMER VALUE
Kyeong Kook Jang,Sang Jin Kim,Sung Hwan Yeo,Kyung Hoon Kim 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7
Supply and demand patterns have dynamically changed in recent years due to the increased global competition. Firms have selected quality and price as competition components and have accomplished corporate innovation in order to achieve competitive advantage. Innovation has been recognized as the way to enhance corporate competitiveness and to continuously grow in churning global competition (Homburg, Schwemmle, & Kuehnl, 2015; Moon, Miller, & Kim, 2013). Although innovation becomes a common means to improve a firm’s performance, it has the limitation of achieving a firm’s strategic goal as a long-term strategy. Thus, firms need to have more fine-grained strategies to survive in dynamically changing business environment, such as design innovation (Moon et al., 2015). For example, Apple has produced its products (e.g., iPhone, iPod and iPad) focusing on innovative product design to influence consumer purchase intention. Design can lead to a distinct competitive advantage (Bolch, 1995). Furthermore, product design can be used by firms to create amd enhance brand recognition, as well as to increase firms’ value (Mozota, 2002). Brand experience positively influences customer satisfaction and brand loyalty (Brakus, Schmitt, & Zarantonello, 2009). Thus, we assume that design experience and product innovation have a positive effect on consumers’ purchase behavior and customer value. However, while the importance of design innovation is recognized, it is not easy to apply the design innovation to marketing due to the lack of relevant research in the field. In fact, relevant research on the influence of innovative new product design and design experience on customer value is scarce. Therefore, the purpose of this study is to investigate how brand experiences and innovative product design affect customer value. Successful innovation is accomplished by identifying customer needs first and developing innovative products to satisfy their needs (Hauser et al., 2006). Design is seen as the core of innovation and the moment when a new object is conceived of, devised, and shaped in a prototype form (Landwehr, Wentzel, & Herrmann, 2013). Verganti (2008) studies the concept of user-centered design, which describes how companies can use design to improve their relationships with users and develop a better understanding of user needs. In this research, design innovation has three dimensions: aesthetic attributes, feature attributes, and emotional attributes. First, aesthetic attributes focus on the product design itself. The aesthetic appearance of a product has a large bearing on its potential market share (Liu, 2003). Second, feature attributes focus on the product features and functional aspects that are required to satisfy customer needs. Feature attributes enable performance that can give results in the operating process (Crawford & Di Benedetto, 2007). Third, emotional attributes focus on consumers’ feeling when they purchase a new product to satisfy their needs. Emotional attributes are generated by consumers’ experience when they purchase a new product in the store. The more the product design satisfies customer's emotional needs, the more customers’ attention is attracted to the purchase of a product (Mokarian, 2007). A product satisfying the aesthetic, feature, and emotional attributes through design innovation provides a new experience to customers (Desmet & Hekkert, 2007). A consumer’s purchase decision making is affected by both direct and indirect experience of using the product and the function of product (Brakus, Schmitt, & Zarantonello, 2009). Therefore, a designer comes to design the product, taking an interest in the experience that the product gives besides its shape and function. Product experiences occur when a customer interacts with the product ? for example, when customers search for, examine, and evaluate products (Hoch, 2002). The product experience can be direct, i.e. when there is physical contact with the product (Hoch & Ha 1986) or indirect, i.e. when a product is presented virtually or in an advertisement (Hoch & Ha 1986; Kempf and Smith 1998). Brand experience can be split into four dimensions (sensory, affective, intellectual, and behavioral), which are differentially evoked by various brands (Brakus, Schmitt, & Zarantonello, 2009). According to previous studies, these four experience dimensions (sensory, affective, intellectual, and behavioral experience dimensions) have an effect on customer satisfaction and customer loyalty. Customer value can be defined as the trade-off between the benefits and sacrifices as a customer purchases a product or service from a supplier (Ulaga & Chacour, 2001). Ulaga and Chacour presented three dimensions of customer value: product-related components, service-related components, and promotion-related components. The researchers argued that customer value could be an important strategic marketing tool to clarify a firm's proposition to customers. Product-related components are intrinsic product characteristics. Product quality is a key factor of relationship value (Ulaga, 2003). Customer value consists of product value and service value. Customer value can be enhanced by quality, diversity, payment, and service quality and decreased by price, convenience, and risk (Jarvenpaa & Todd, 2003). Service-related components include all aspects of service associated with the product. Various service components play an important role in differentiating a supplier's offering (Narus & Anderson, 1996). Promotion-related components include all items used to promote the product to the customer. For all purchasing processes, it is necessary to assess the perceived customer value, such as service quality and promotional quality (Qualls & Rosa, 1995). In the present study, we conducted a research survey with 300 subjects and analyzed the data. In order to test the reliability of questionnaire, Cronbach's alpha was used. In order to test the validity, an exploratory factor analysis was conducted. Measurement was made for 3 variables, i.e. design innovation, design experience, and customer value. Three variables (aesthetical attributes, feature attributes, and emotional attributes) were used for design innovation. Three types of attributes were introduced for a mobile phone design innovation. Four dimensions (sensory, affective, intellectual, behavioral) were measured using a technical design experience and a humanistic design experience. Three variables (product-related customer value, service-related customer value, and promotion-related customer value) were employed for customer value. The results of the analyses demonstrate that design innovation has a positive effect on design experience, while design experience has a positive effect on customer value. Aesthetic attributes of design innovation have a positive effect on technical design experience and humanistic design experience. Feature attributes have a positive effect on the technical design experience and the humanistic design experience. Emotional attributes have an effect on the technical design experience and the humanistic design experience. The technical design experience has a positive effect on product-related customer value, service-related customer value, and promotion-related customer value. The humanistic design experience has a positive effect on product-related customer value, service-related customer value and promotion-related customer value. This study will make it possible to empirically examine how customer's experience in design innovation affects customer value. Our results will provide a theoretical foundation for examining a relationship between variables regarding how design innovation influences customer value through design experience. It is intended to give a direction as to the design innovation of firms by clarifying and presenting antecedent factors having an effect that design innovation produces on customer value. The results of the present study will inspire designers to design in consideration of design experience. Finally, our study will provide marketers with guidelines as to how design experience can influence customer satisfaction and loyalty.
Jingyi Sun 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07
Introduction For a long time, firms have been improving product function, performance, price-performance ratio (hereinafter uniformly referred to as functional aspects of product design), and product appearance. Nevertheless, the current market situation is that many products in the same category are similar in quality, price and appearance. Product homogeneity leads to excess supply, and this situation is objectively long-standing. For consumers, positive emotions often play a key role in their purchase decisions. Yet, when most products seem to be similar, it is difficult to evoke more positive emotions of consumers to increase their willingness to pay. This paper shows that besides product appearance and functional aspects of product design, the connotations of product aesthetics should also be focused. In other words, aesthetic aspects of product design should include both product appearance and connotations. Connotations, as deep meaning inside product aesthetics, can evoke either consumers’ memories of the past or imagination of new creative ideas, or both (e.g., Starry night umbrella by MoMA Design Store, Sakura Masking Tape by Bande). Although the contents of memory recall or imagination might differ across consumers, positive emotions evoked in that process will increase willingness to pay. A new conceptual model is proposed in this paper, which shows that functional aspects, product appearance, and the connotations of product aesthetics could cause different psychological activities, and positive emotions evoked in those processes can enhance willingness to pay. When most products tend to be similar, the connotations of product aesthetics could be a promising area for firms today to make their products distinctive and increase their market share. Product Design and Consumer Emotions (1) Elements of Product Design Product design is considered as the set of properties of a product, including both functional and aesthetic aspects (e.g., Homburg, Schwemmle, & Kuehnl, 2015; Jindal, Sarangee, Echambadi, & Lee, 2016; Luchs & Swan, 2011). Functional aspects of product design consist of function, performance, and price-performance ratio. Aesthetic aspects mainly refer to product appearance, consisting of visual elements such as color, shape, and material. (2) Relationship between Product Design and Consumer Emotions Previous research shows that functional aspects of product design could evoke positive emotions like satisfaction, and aesthetic aspects could please our senses and make us feel delight (e.g., Bloch 1995; Chitturi, Raghunathan, & Mahajan, 2008). Furthermore, Norman (2004) points out that emotional factors can be the key to the success of product design. If a product could evoke consumers’ positive emotions, those emotions would arouse willingness to pay. If not, consumers might not have the desire to buy it. The Connotations of Product Aesthetics Evoking Positive Emotions of Consumers As Barnard (2005) suggests, as the deep level of meaning, connotations refer to one’s feelings or thoughts caused by a design. This paper proposes that the connotations in product aesthetics could either remind consumers of their past experiences or trigger their imagination to think about new creative ideas, or both. Emotional resonance could be achieved and finally facilitate purchase behaviors. In our daily lives, there are many products that have not only beautiful appearances but also the connotations of product aesthetics. For instance, Starry Night Umbrella by MoMA Design Store (Figure 1). MoMA Design Store released an umbrella patterned with stars, the moon and the sky that swirl, which reminds consumers of the masterpiece The Starry Night (1889) by Vincent Van Gogh. When encountering this umbrella, consumers who love the works of Van Gogh will have positive emotions and a strong desire to buy it. Cherry Blossom Masking Tape by Bande (Figure 2). Bande, a Japanese masking tape brand, launched a masking tape with sakura (cherry blossom in Japanese) petals design. Its real-like floral design can remind consumers of spring or their own stories with cherry blossom and trigger their imagination to come up with lots of creative ideas such as using it to decorate their diaries, laptops, furniture, and so on. Besides the original function of tapes, the connotations inside product aesthetics could encourage consumers to think creatively and feel happy. A Conceptual Model of Product Design, Positive Emotions, and Market Share This paper proposes a conceptual model (Figure 3), showing that different aspects of product design can evoke consumer emotions and those positive emotions have a positive effect on willingness to pay. First, functional aspects of product design are very important. Consumers compare function, performance, and price-performance ratio among many products, which is considered as a process of rational thinking. Products with high qualities and affordable prices can make consumers feel satisfied. Positive emotions (E1) evoked by functional aspects can enhance the willingness to pay and bring firms market share (S1). Then, on the bases of functional aspects, firms use different colors, shapes, and materials to make product appearance attractive. Sophisticated appearances of products can please the senses of consumers and evoke positive emotions (E2). That could increase their desires to buy and bring more market share (S2) for firms. Nevertheless, these two parts are what most firms can do today. To make products distinctive, firms should add connotations into aesthetic aspects of product design, which can trigger consumers’ memory recall of their past experiences or their imagination of new creative ideas, or both. Although the contents of recall and imagination are different across consumer, the arousal of positive emotions (E3) will enhance willingness to pay and finally bring new market share (S3). Thus, two equations derived are as follows: Positive Emotions = E1+E2+E3 Market share =S1+S2+S3 If firms take all these aspects of product design into consideration, their products will evoke consumers’ positive emotions adequately to increase willingness to pay, and help firms occupy more market share from fierce market competition. General Discussions On the market today, lots of products have beautiful appearances and seem to be similar in functional aspects of product design. To make products distinctive, this paper considers that firms should also attach importance to the connotations of product aesthetics. The connotations will remind consumers of their past experiences or let them imagine new creative ideas, or both. Positive emotions evoked during that process increase willingness to pay. That is a promising area for firms today to gain more consumers and new market share. Since the connotations of product aesthetics could be influenced by factors such as age and culture, it is important for marketers to investigate and analyze consumers’ understandings of aesthetics from different ages and cultures, then feed it back to designers to help them design successful products in the future.
Devanny Gumulya,John Tampil Purba,Evo Sampetua Hariandja,Rudy Pramono 한국디자인학회 2023 디자인학연구 Vol.36 No.1
Background With increasing global competition, to be successful firms must have a clear and significant differences that is related to the market need. Embedding regional characteristics into products appears to be becoming increasingly important to ensure firms’ strong identity in the global market. The article deals with the fundamental questions about how to use culture as a starting point for identifying new ideas and how to translate culture into new products that benefit the company. Methods The research used qualitative exploratory study design with multiple case study. Data collection methods used in the study were semi-structured interviews, literature study and documentation. The research is based on the literature on cultural product design and innovation capability, particularly idea management literature, as well as five case studies of creative social enterprises. Primary data were elicited through semi structured interview with 5 founders and 5 designers who are responsible for product development. Results The results point out four themes about how Cultural Product Design is used in the five Creative Social Enterprises: First, material culture is the majority inspiration for new product development in creative social enterprises. Second, behavioral, and reflective culture create compelling storytelling. Third, the knowledge of spiritual culture enriches designer’s appreciation toward the artifact. Fourth, Cultural Product Design is used as framework for idea management system. Conclusions By investigating five creative social enterprises in Indonesia who have won numerous awards for their cultural product designs we conclude that cultural product design fosters innovation capability development in creative social enterprises. To illustrate how cultural product design used in the creative social enterprises, the study proposes a framework cultural product design as idea management system for innovation capability development. The framework is developed by modifying the existing cultural product design framework with 6 stages idea management. The framework emphasizes the importance of designers having a holistic view of the cultural layer during idea selection, implementation, and deployment. This study benefits young entrepreneurs, product designers, and other researchers.
제너레이티브 디자인의 제품디자인 활용에 관한 실증적 연구
나한범,김원섭 한국디자인학회 2022 디자인학연구 Vol.35 No.2
Background Generative design is attracting attention as it can solve a design goal by adding the designer's sense and sensibility to the objective result generated based on the design goal, and as an alternative to the convergence process that can receive help in generating the structure and modeling by the algorithm. However, despite the interest of many designers in generative design, there are no precise guidelines on how to conceive, develop, and express generative product design, which causes many difficulties in utilizing generative design. Therefore, this study finds out how to utilize generative design through a product design development project. Methods First, as a research method,the study conducted prior research on modeling, exploration, and ideas for product design development and derived implications related to product design and modeling ideas. Second, study examined the modeling and structural application examples of products and parts using generative design and investigated methods that can be utilized in product design. Third, carried out a product design development project using generative design for students majoring in product (industrial) design and junior designers and analyzed the use and process of generative design. Fourth, through an interview with the participating designers, the study derived the generative design method of plan and possibility in Product design process. Results The study showed the possibility of using an objective result that meets the generative design goals and the applicability in product design with creative and new modeling that goes beyond human imagination. However, several attempts were conducted to extract the design and structure intended by the designer, and it was sometimes difficult to derive a meaningful product shape while developing the design without understanding the principle, thus suggesting the necessity of a guideline. Conclusions Although the existing product designs were developed based on image research or a designer's sensibility or sense, they were meaningful as product designs based on generative design, which derives a formative and structure differentiated from the existing ones through various options and adds the sensibility of the designer. It is expected that guidelines presented in the future on how to apply options of generative design, using the basic functions of products, will be effectively used in generative product design.
Understanding Emotions and their Role in the Design of Products: An Integrative Review
Gaurav Vaidya,Pratul Ch Kalita 한국디자인학회 2021 디자인학연구 Vol.34 No.3
Background: Today consumers expect more from a product than mere fulfillment of the intended function for which the product is designed. Modern-day consumers demand products that match and satisfy their preferences. Contemporary trends in design show consumer inclination towards objects which motivate them, improve their quality of life and spark emotions. Consequently, along with the functionality requirements, a product needs to serve consumers emotional needs, and for that, the product must relate with them at their emotional level. The products visual appearance is responsible for engendering first impressions and initiating a connection at the emotional level before product purchase. Previous research suggests that the emotional element of design could be more crucial in deciding the success of the product than the functional aspect as it affects consumers decision-making in choosing a product. Therefore, design directed by emotional content is gaining more and more importance in current design practices, research, and education. Thus, designers must possess the necessary knowledge and skills to deal with this design paradigm of product emotions, analyzing the relationship between emotion, consumer behavior, and product design. This paper investigates associations between fundamental product design elements, product judgment attributes, consumer emotional response, and consumer behavior in the context of before product purchase scenario through an integrative review of literature in the domain of product design and emotions. Methods: The study is an integrative review of papers from major journals in design, consumer research, management, philosophy, cognitive science, psychology, and marketing on the topic of Emotional Design from January 2000 to August 2020. 133 relevant articles were shortlisted and analyzed considering the purpose, methods, and main findings of the studies. Results: The four major categories that emerged through the analysis of the shortlisted articles were 1. The Terminology used in Emotion Research, 2. Consumer Emotions and their relation with the other factors such as fundamental product design elements, product judgment criteria, consumer behavior, and environmental factors in the before product purchase scenario, 3. Theories of Product Emotion, and 4. Assessment of Emotion. Conclusions: A multi-faceted evaluation of articles of the first two categories resulted in proposing a new theoretical framework investigating consumer emotional response before product purchase context. The framework has been described illustrating key terms and associations between them with future directions on Emotional Design. It is expected that design practitioners, cognitive scientists, and ergonomists would find the developed framework helpful while designing products that elicit desired emotional responses.
레트로 디자인(retro-design)이 하이테크 제품에 대한 태도 및 구매 의도에 미치는 효과: 인지된 새로움의 매개효과를 중심으로
이지은 ( Lee Jee Eun ),김승은 ( Kim Seung-eun Sonia ),이유석 ( Lee Youseok ) 한국소비자학회 2017 소비자학연구 Vol.28 No.5
In this study we have examined how the usage of a retro-design, or the application of an old-fashioned design to products used today, on high-technology products affects consumer attitude and consumer purchase behavior towards the product. The combination of a retro- design, which is more associated with the past, and a high-technology product, which is more associated with the present or future, seems to be quite paradoxical. Thus, what kind of attitude consumers have and their intention for purchase towards the product can vary whether the high-technology product has a commonly used modern design or a retro-design. Particularly in this study, we aim to investigate the variation of product attitude and purchase intention by focusing on the mediating effect of perceived newness of the product. For this purpose, we have conducted two separate experiments. Experiment 1 was conducted in order to provide evidence that product design(modern design vs. retro-design) affects the product attitude and purchase intention of consumers towards a high-technology product. Results showed that consumers expressed more positive attitudes and higher purchase intentions when the high-technology product had a retro-design compared to a modern design. Moreover, the effect was completely mediated by the perceived newness of the product. In experiment 2, we examined how the effect of retro-design was moderated by the nostalgia proneness of the consumer. Results stated that the effect of retro-design on consumer product attitude and purchase intention was stronger when consumers had a weaker nostalgia proneness compared to a stronger nostalgia proneness. Specifically, consumers with a weaker nostalgia proneness had a more positive attitude and stronger purchase intention towards a high-technology product when it has a retro-design. This moderation was completely mediated by the perceived newness of the product, as in experiment 1. In conclusion, the study shows that, in the case of high-technology products, consumer product attitude is more positive and purchase intention is higher when the product is a retro- design. When a high-technology product has a retro-design, it is perceived as newer, which thereby affects the product attitude and purchase intention of consumers. This study contributes to the understanding of how a retro-design affects consumer perception, and has managerial implications in identifying the effect of retro product design on high-technology product purchase behavior.
친근함과 독특함: 소비자의 디자인 선호와 구매 의도에 영향을 미치는 디자인 특성
김선우 ( Kim Sunwoo ),이지현 ( Lee Jihyun ) 한국소비자학회 2018 소비자학연구 Vol.29 No.1
This study investigated the influence of product design (familiarity vs. novelty) and product type (utilitarian product vs. hodonic product) on consumers’ design preference and purchase intention. Basically, both familiar and novel design attributes improve consumers’ design preference by inducing their aesthetic pleasure. However, this study anticipated that this influence would vary depending on the hedonic-utilitarian attributes of the product. On the basis of this assumption, this study collected data through a questionnaire with T-shirts, which is a fashion product with strong hedonic attributes, and toasters, which is a kitchen appliance with strong utilitarian attributes, as its stimuli. Through the collected data, we examined how consumers’ design preference and purchase intention differ according to familiarity and novelty in product design. Prior to the main investigation, a pre-test was conducted to develop research stimuli for T-shirts and toasters. The pre-test consisted of a total of four stages, and as a result, five-step stimuli with familiar design-ordinary design-novel design were developed. In order to investigate the design preference and purchase intention of the stimuli, an online survey was administered to 117 people in their 20s. The collected data was analyzed applying SPSS for Windows. We conducted two two-factor ANOVAs with repeated measurement on one factor with product type as an independent variable (utilitarian product vs. hedonic product), and design preference and purchase intention according to the change of the design attribute (from very familiar design to very novel design) as a repeated measurement variable, respectively. The LSD test was added to confirm the statistical significance of the repeated measured values according to the change of the design attribute. The results of the ANOVA analyses are as follows. In both the stimuli of T-shirts and toasters, consumers’ design preference and purchase intention significantly changed depending on familiarity and novelty of product design. However, the pattern of change varied according to the type of product. In the case of T-shirts (hedonic product), consumers’ design preference increased as the product design became more novel, but their purchase intention decreased. These results imply that a novel product design can improve consumers’ preference for a design, but a novel product design is not always connected to their purchase in the case of products having strong hedonic attributes such as fashion products. In the case of toasters, consumers’ design preference was the highest for ordinary design compared to a familiar or novel design, and the pattern of purchase intention was similar to that of design preference. These results illustrate that consumers’ preference for an ordinary design is the highest compared to familiar or novel designs for utilitarian products where the functional characteristics of products are important like kitchen appliances, and such preferences can lead to their purchase. In consumer goods markets where the differentiation of product quality is difficult due to recent technological improvements, design competitiveness is a crucial factor for determining companies’ survival. However, previous studies on which designs are desirable to consumers have not been sufficiently executed. This study identified what kinds of design strategies are effective for hedonic and utilitarian products. The results of this study could contribute to deriving the direction of product design strategies in consumer goods companies.
업사이클링 제품디자인에 나타나는 특성 - 소재와 기법 및 제품사례중심으로 -
차임선 ( Im-sun Cha ),한정임 ( Jung-im Han ) 한국디자인트렌드학회 2016 한국디자인포럼 Vol.53 No.-
Background As the worldwide attention the urgency of the environmental pollution and depletion of natural wasted began receiving attention for research on how to reduce the environmental pollution caused by the waste and recycling methods. This study is consistent with a study on the flow of these contemporary one step higher level of upcycling designs into functional, aesthetic from simple recycling. Through a case study on the characteristics of the materials and techniques that appear in the upcycling product design, we propose a theoretical data and the problem needed to develop products with high added value and a firm grasp on upcycling product design. Methods Research on the upcycling Theoretical analysis and characterization of materials and techniques that appear in the upcycling products designs were collecting relevant literature and several previous studies and books, products, case studies since 2005 can be seen in upcycling products design site in. It was discussed mainly the product of foreign designers. Result Results First, simply growing interest in upcycling design to create new value to the product by adding design elements for reinvestment and abandoned waste to not concepts environment of the down cycle that only recycling or reuse value with the material. Second, the material used in the product design upcycling in general in paper, textile, leather, vinyl, Thailand Chapter, wood, glass, metal, etc. has been widely used, the area of materials recycling which has been gradually expanded. Third, the design techniques used in the product has been used up cycling a lot of patchwork, plating, weaving, knitting and Black Chevron, mainly handicraft techniques such as collage elements have a strong technique. Fourth, the combination of different materials with durable recycled through the upcycling product design case study and weaving, knitting, crochet, patchwork, plating was a use scarcity and originality of handicraft techniques that require sophisticated technology stand out, such as can do. Conclusion Upcycling the utilization of resources through a study of the product design to enhance the development of new material and not just lowering costs and production of traditional craft techniques. By studying the unique techniques upcycling the design of high value-added industries can develop.