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exonly-icons · 8 years ago
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boys24 unit sky icons. Like or @wngtao
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sweetiemyg · 7 years ago
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some random icons ....  (´・ω・`)
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kimpacks · 7 years ago
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like or reblog if you save. ♡ ©  to @ynseong
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maiasolaire · 7 years ago
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KDramas I Wanna Watch
Dramas recommended to me by friends and/or internet posts.
(Summaries aren’t mine)
1. She Was Pretty
Can you over-romanticize a cherished memory from childhood? Ji Sung Joon (Park Seo Joon) was a shy, porky kid who was constantly teased by the other kids for his rotund shape. When he transfers to a new school in fifth grade and meets Kim Hye Jin (Hwang Jung Eum), the prettiest, most popular girl in school, his life turns around. The kind-hearted Hye Jin becomes his only friend and protector — and they become each other’s first love. But then everything changes when Sung Joon’s family immigrates to the United States and then Hye Jin’s father’s business goes downhill, plunging her family from their previous wealthy lifestyle. But that’s not all! Hye Jin’s beautiful looks initially took after her mother. But as soon as Hye Jin hits puberty, her father’s genetic skin condition takes hold and leaves her with reddish facial scars that makes her resemble a raccoon. Fifteen years later, Sung Joon is a whole new person — dashing and handsome and a successful art director — who is transferred from New York to the Seoul office of “The Most” fashion magazine to work as the deputy chief editor. He tries to find his childhood friend, Hye Jin, again. But embarrassed by her current unglamorous appearance, Hye Jin passes off her best friend, the stunning Min Ha Ri (Go Jun Hee), as herself. But when Hye Jin is suddenly transferred to the magazine department at her new job to work as in intern under Sung Joon, how much longer can she keep her true identity a secret?
2. Descendants of the Sun
Some relationships are fated, despite the challenges of time and place.
Yoo Shi Jin (Song Joong Ki), the leader of a Special Forces unit, meets trauma surgeon Kang Mo Yeon (Song Hye Kyo) in a hospital emergency room after Shi Jin and his second-in-command, Seo Dae Young (Jin Goo), chase down a thief on their day off.
Shi Jin is immediately smitten with Mo Yeon, and he asks her out on a date. But Shi Jin keeps getting called to duty when he is with Mo Yeon, and the two also realize that they have conflicting views about human life (he will kill to protect his country and she has to save lives at all costs). They decide to break off their budding relationship as a result.
Dae Young also tries to break off his relationship with Army doctor Yoon Myeong Ju (Kim Ji Won) because her father, Lt. General Yoon (Kang Shin Il), thinks Shi Jin is a better match for his daughter.
Shi Jin and Dae Young are then deployed to the fictional war-torn country of Urk on a long-term assignment of helping the United Nations keep peace in the area. After repeatedly being passed over for a promotion because of her lack of connections, Mo Yeon gives up performing surgeries, loosening her principles somewhat to become a celebrity TV doctor and caring for VIP patients at the hospital. But when she refuses the sexual advances of the hospital chairman, Mo Yeon is picked to lead a medical team to staff a clinic in Urk! There, Mo Yeon unexpectedly reconnects with Shi Jin.
3. Strong Woman Do Bong Soon
Do Bong Soon (Park Bo Young) comes from a long line of women possessing Herculean strength. But Bong Soon can only use her strength for good; if she uses it for her own personal gain or to mistreat others, she can lose her strength forever like her mother, Hwang Jin Yi (Shim Hye Jin). Bong Soon’s twin brother, Do Bong Ki (An Woo Yeon) did not inherit the unusual family strength and is a doctor, but Bong Soon has trouble finding gainful employment as an aspiring game developer.
When Ahn Min Hyuk (Park Hyung Sik), the young CEO of AIN Software, a gaming company, witnesses Bong Soon’s amazing strength against a group of gangsters one day, he hires her to be his personal bodyguard to help him catch a man who has been making death threats against him. Bong Soon has a secret crush on her childhood friend, In Guk Doo (Ji Soo), a police detective who is trying to capture a dangerous kidnapper in Bong Soon’s neighborhood. Can Bong Soon help both men track down the culprits?
4. While You Were Sleeping
A young woman with bad premonition dreams meets two people who suddenly develop the same ability.
Nam Hong Joo (Suzy) lives with her mother, Yoon Moon Sun (Hwang Young Hee), a widow who runs a small restaurant. Jung Jae Chan (Lee Jong Suk), a rookie prosecutor, and his younger brother, Seung Won (Shin Jae Ha), move in across the street. Since she was young, Hong Joo has had the ability to see bad events before they happen, but she is often unable to do anything about it.
One day, Jae Chan has a strange premonition dream about an accident involving Hong Joo and Lee Yoo Beom (Lee Sang Yeob), a ruthless attorney who used to be Jae Chan’s tutor. Jae Chan decides to interfere in the course of events and ends up saving the lives of Hong Joo and Han Woo Tak (Jung Hae In), a young police officer. When Jae Chan, Hong Joo and Woo Tak then start having dreams about one another, they realize that their lives are now somehow entwined.
But can the three discover the reason that they were brought together, and can they prevent the people closest to them from getting hurt?
5. Just Between Lovers (Rain or Shine)
A building collapse ties the fates of three young people years later. Ten years ago, the S Mall collapsed due to shoddy construction, killing 48 people inside.
Ha Moon Soo (Won Jin Ah) was there with her younger sister, who perished in the accident. Lee Kang Doo (Junho) was there waiting for his father, who was an electrician doing work on the building. Seo Joo Won (Lee Ki Woo) was helping out his father, who was the head engineer of the building. Moon Soo, Kang Doo and Joo Won survived the horrible accident, but their loved ones did not.
Years later, Joo Won is an architect who is working on a new project to replace the former S Mall. With her keen eye for detail and sturdy building construction, Moon Soo ends up working for Joo Won on the project. Kang Doo works odd jobs to get by and ends up working at the new construction site.
How will they each deal with their respective pains as they are reminded of the event that changed all of their lives so profoundly?
6. Father Is Strange
This is one of those things that can disrupt a seemingly normal family. Byun Han Soo (Kim Young Chul) lives on the outskirts of Seoul with his selfless wife, Na Young Sil (Kim Hae Sook). Their bustling lives center around his small diner, “Daddy’s Snack Shop,” and their four adult children, Joon Young (Min Jin Woong), Hye Young (Lee Yoo Ri), Mi Young (Jung So Min) and Ra Young (Ryu Hwayoung).
Joon Young tries not to disappoint his parents as he has been unable to pass the civil service exam for five years. Hye Young is the most accomplished as a successful attorney who has an on-again, off-again relationship with Cha Jung Hwan (Ryu Soo Young), a television producer-director. After years of trying to land a job, Mi Young finally lands her dream job as an intern for Gabi Entertainment, only to discover that her high school bully, Kim Yoo Joo (Lee Mi Do), works there as a team leader. Ra Young works a yoga instructor and falls for Park Cheol Soo (Ahn Hyo Seop), who has absolutely no interest in returning her attention.
The close-knit Byun family is thrown into turmoil when Ahn Joong Hee (Lee Joon), an idol-turned-actor, shows up one day and claims that Han Soo is his father. Joong Hee is widely ridiculed by netizens as a robotic actor, but he is determined to earn respect by landing a role in a highly anticipated miniseries about a father-son relationship. But in order to conjure the emotions needed for the role, Joong Hee decides he needs to get to know the father he believes abandoned him and his mother 35 years ago.
Will Joong Hee’s appearance threaten to reveal a deeply buried secret and otherwise disrupt Han Soo’s happy family life?
7. Weightlifting Fairy Kim Bok Joo
What else could there be to life than barbells and heavy weights?
Kim Bok Joo (Lee Sung Kyung) is a weightlifting phenom who has only focused on barbells her entire life while growing up with her father, Kim Chang Gul (Ahn Gil Kang), is a former weightlifter. She attends Hanwool College of Physical Education, a university full of top-notch athletes who are driven to succeed in the hopes of representing their country in national and international competitions.
Bok Joo went to the same elementary school as Jung Joon Hyung (Nam Joo Hyuk) but reunites with him in college. He is now a competitive swimmer who is having trouble recovering from the trauma of being disqualified for a false start in his first international swim competition.
Song Shi Ho (Kyung Soo Jin) is a fiercely competitive rhythmic gymnast who won a silver medal at the Asian Games when she was 18, but the pressures of her sport drive her to break up with Joon Hyung. Bok Joo’s tunnel-vision life starts to change when she falls in love with Joon Hyung’s older cousin, Jung Jae Yi (Lee Jae Yoon), a former athlete who became an obesity doctor after suffering a career-ending injury.
Will Bok Joo learn that there is more to life than weightlifting?
8. Queen In Hyun’s Man
Every actress hopes that an opportunity will come along to play an iconic role that could bring her out of obscurity and make her a star.
For Choi Hee Jin (Yoo In Na), that opportunity is in a television drama playing the role of Queen In Hyun (Kim Hae In), who was deposed during the Joseon Dynasty as King Suk Jong’s (Seo Woo Jin) consort by the scheming actions of Lady Jang (Choi Woo Ri). But Hee Jin’s modern-day world collides with that of her character in ways she doesn’t fully understand.
Kim Boong Do (Ji Hyun Woo), a scholar from the Joseon era, is mysteriously transported 300 years into the future to modern-day Seoul and comes into Hee Jin’s life as she is preparing for her career-making role. Boong Do not only knew the real queen but also supported her reinstatement.
Was Boong Do brought to the future to help Hee Jin bring some authenticity to her role as the queen?
9. Madame Antoine
Can a very observant woman outwit a psychotherapist? Go Hye Rim (Han Ye Seul) operates the Madame Antoine cafe on the first floor of a building that also houses a famous psychotherapy clinic on the top floor. Hye Rim uses her keen intellect and heightened senses to also work as an adviser to psychotherapist Choi Soo Hyun (Sung Joon). But unknown to Hye Rim, Soo Hyun is running a top-secret experiment on her “ideal type of man” with the help of his younger half-brother, Choi Seung Chan (Jung Jin Woon), and clinic employee Won Ji Ho (Lee Joo Hyung). But unknown to Soo Hyun, Hye Rim also is being paid by a mysterious man to get a hold of Soo Hyun’s valuable experiment files. What is Soo Hyun’s true experiment, and will Hye Rim help him or hurt him in his research goals?
10. The Guardians (Lookout)
The Guardians tells the story of a group of people who team up to serve justice themselves after losing their loved ones to criminals. The group consists of a detective, prosecutor, hacker, and an extremely shy person. They want to give these criminals the punishment that they deserve, and take matters into their own hands as the corrupt justice system in South Korea fails to capture the culprits.
11. Circle (Circle: Two Worlds Connected)
A sci-fi mystery drama that takes place in both the year 2017 and the year 2037. In 2007, twin brothers, Kim Woo-jin and Kim Bum-gyun, witness an alien arrival that brings about a huge change in their lives. In 2017, Kim Woo-jin (Yeo Jin-goo), now a college student, notices that a series of suicides in his university is somehow linked to his brother, Kim Bum-gyun (An Woo-yeon). While in pursuit of the case, he meets Han Jung-yeon (Gong Seung-yeon), another college student who is investigating the serial suicides. In 2037, South Korea is now divided into General Earth, a heavily polluted place where crimes are rampant, and Smart Earth, a clean and peaceful city free from crimes. Kim Joon-hyuk (Kim Kang-woo) is a crime detective who tries to get into Smart Earth to investigate a case of twin brothers who went missing in 2017. Each episode contains two parts, the first part is set in 2017 called “Beta Project,” while the second part is set in 2037 called “Brave New World.”
12. The Heirs
The series follows a group of rich, privileged, and high school students as they are about to take over their families' business empires, overcoming difficulties and growing every step of the way.
Kim Tan (Lee Min-ho) is a wealthy heir to a large Korean conglomerate called Jeguk Group.[9] He was exiled to the U.S. by his brother Kim Won (Choi Jin-hyuk), who tries to take control of the family business.[10] While in the States, he meets Cha Eun-sang (Park Shin-hye), who went there to look for her sister.[11] Despite being engaged to Yoo Rachel (Kim Ji-won), a fellow heiress, Kim Tan soon falls in love with Eun-sang. When Kim Tan returns to Korea, his former best friend turned enemy Choi Young-do (Kim Woo-bin) begins picking on Eun-sang to irritate Tan. Tension ensues when Young-do also falls in love with Eun-sang, and Kim Tan is forced to choose between responsibility of pursuing the family business or love.
13. Laughter in Waikiki (Welcome to Waikiki)
The story of three men who come to run a failing guesthouse called Waikiki. Complications spark when their guesthouse is visited by a single mother and her baby.
14. I’m Not a Robot
Kim Min-kyu (Yoo Seung-ho) lives an isolated life due to a severe allergy to other people. He develops extreme rashes that rapidly spread throughout his body once he makes any form of skin contact. Jo Ji-ah (Chae Soo-bin) is a woman who is trying to make it in life by creating her own businesses. However, after an encounter with Min-kyu, she ends up pretending to be a robot in place of the supposed Aji 3 robot. The Aji 3 robot was developed by Ji-ah's ex-boyfriend, professor Hong Baek-kyun (Um Ki-joon) and his team. The robot was meant to be tested by genius Min-kyu, however an accident caused the robot's battery to malfunction. As Baek-kyun modeled the robot after Ji-ah, the team ends up recruiting her to take the place of Aji 3.
15. Because This Is My First Life
House-poor Nam Se-hee (Lee Min-ki) and homeless Yoon Ji-ho (Jung So-min), both unmarried in their thirties, start living together as housemates.
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smartwebhostingblog · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://webhostingtop3.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://webhostingtop3.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
lazilysillyprince · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://webhostingtop3.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
hostingnewsfeed · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://webhostingtop3.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
kdramastuff · 8 years ago
Note
I started watching Father is Strange for Lee Yoo-ri and Ryu Soo-young. But strangely I don't care for them anymore. And they still haven't addressed the topic of why they broke up!! It's just the elephant in the room. Also what are your thoughts on the other characters
First of all, the drama has the parents from the iconic Life is Beautiful drama. Not only their relationship with each other and with the kids is very similar, they even cast the same actors. I have to admit that it weirds me out.
Tumblr media
Lee Yoo-ri and Ryu Soo-young couple is surely taking their sweet time to bring up the breakup reason.  It clearly happened because of his mom, but I don’t understand how she lets him live as an unmarried loser producer for all these years if she had that much power over his matters back then. I am waiting for the family angst, because the pointless competition with the writer is annoying me. Hope the writer will be out of the picture soon enough, having that sort of a character beside the guy will bring nothing new or interesting.
I wonder how the Jung So-min & Lee Joon couple will play out. He’s her brother, right? Are we set for the sibling love, or is he not their actual relative, after all? I would love it if we got a decent friendship between the siblings instead of “forbidden” romance for once. I like Lee Joon’s character quite much, though the way he refuses to even hear out the dad is starting to get on my nerves.
Then goes Hwayoung and her young trainer. I can’t quite overlook the mess of Hwayoung’s scandal, plus her character is acting in a super cheesy manner that makes me cringe more that it should. The guy is cute though, so i keep watching their scenes. 
Also, there’s the brother of our ladies and his lover who bullied Jung So-min. For these two, I don’t care at all, I skip all I can.
That’s about all I have to say. Episodes 9-10 weren’t that great, hope this week’s ones will bring some fresh air.
5 notes · View notes
smartwebhostingblog · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://greatresponder.com/2018/12/17/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
Related Posts:
No Related Posts
0 notes
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://greatresponder.com/2018/12/17/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
Related Posts:
No Related Posts
0 notes
smartwebhostingblog · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://affordablewebhostingsearch.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://affordablewebhostingsearch.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
lazilysillyprince · 6 years ago
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://affordablewebhostingsearch.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
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Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://affordablewebhostingsearch.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes
Text
Japanese electronics firms look to re-engineer their design mojo
New Post has been published on http://rwamztech.com/japanese-electronics-firms-look-to-re-engineer-their-design-mojo/
Japanese electronics firms look to re-engineer their design mojo
TOKYO (Reuters) – Akihiro Adachi, a 31-year-old audiovisual equipment designer at Panasonic Corp, longed for some personal space during his lengthy train rides from Osaka to Tokyo. So when his company set out to encourage innovation, he joined with some colleagues and came up with “Wear Space,” a headset that limits noise and peripheral vision.
A designer of Panasonic demonstrates a prototype of ‘Wear Space’ during a photo opportunity in Tokyo, Japan, October 29, 2018. Picture taken October 29, 2018. REUTERS/Kim Kyung-Hoon
Many at Panasonic were puzzled.
“Someone said the office full of people wearing this would look weird,” said Kang Hwayoung, another member of the 10-person design team.
But the prototype unexpectedly won a global design award and received positive feedback from unexpected quarters, such as sake tasters who wanted to limit sensory input.
The project is among a range of efforts in the Japanese electronics industry to reinvigorate industrial design. After years of losing ground to design-first rivals such as Apple and Dyson, Japanese companies are now trying to recover the processes and creative flair that produced iconic products such as the Walkman.
Panasonic, Sony and Mitsubishi Electric are among those implementing practices that have been routine at many U.S. and European companies, such as engaging designers at every step and treating packaging as part of the product.
“We used to have designers involved only in final stages of our product development process, just for an aesthetic fix,” Yoshiyuki Miyabe, Panasonic’s technology and manufacturing chief, told reporters. “We are revamping the process so that designers can join us from the planning phase.”
The Japanese government is promoting the efforts: a report in May urged corporate executives to pursue “design-driven management, whereby a company leverages design as a primary driver of competitiveness.”
It also called for tax incentives for design-related investments and new laws to better protect intellectual property. The government is set to revise such laws next year.
“Of course, we had an argument over how much the government can do and should do with private-sector issues like this,” said Daisuke Kubota, director at the government’s design registration system planning office, who was involved in the panel.
“But a lot of design experts asked us for government initiatives, saying that this is really the last chance and Japan would never be able to catch up with global rivals if this opportunity is missed.”
Another member of the panel, Kinya Tagawa, visiting professor at the Royal College of Art and co-founder of design firm Takram, says there has been a sharp increase in major companies’ requesting design lectures for their executives.
“I’m seeing a sign of change,” he said.
THE ROAD AHEAD
All agree there is a long way to go. C-suite designers remain a rarity at most electronics companies while technologists reign supreme, company officials and industrial designers say.
Japan last year received 31,961 applications for design registrations, only a fraction of China’s 628,658 and half of South Korea’s 67,374. In the heyday of the Japanese electronics industry in the early 1980s, Japan had nearly 60,000 applications every year.
Tagawa said the root of today’s problems was the failure of Japanese firms to absorb lessons from the software revolution, which showed the importance of user-centered design principles and easy-to-use products such as Apple’s iPhone. Instead, they remained fixated on engineering.
Ryuichi Oya, who retired as design chief of Sharp Corp last month, says he saw that attitude up close when he moved to Sharp four years ago after a long stint at automaker Mazda Motor.
“Designers at home electronics companies have little say compared to engineers,” he said. “When engineers dismiss design proposals as too costly or difficult from an engineering point of view, designers easily succumb.”
Oya said he found it particularly hard to convince management of the need for a design vision.
“It’s not about whether you like this color or that shape,” he said. “There have to be design principles unique to Sharp and consistent across its product line.”
COMPETITION
Japanese designers cite the contrast with South Korea’s Samsung Group, where its patriarch, Lee Kun-hee, said in 1996 that design was a core management resource “imperative for a company’s survival in the 21st century.” He sharply boosted both the number and status of designers.
At Sony, insiders say design began its return to the forefront after chairman Kaz Hirai took over in 2012. Change has been slow as the company went through a painful restructuring, but the results can be seen its approach to the revival of Aibo, a robot dog.
Designers worked to craft a holistic user experience, starting from the moment a customer opened the box, tapping into a community of Aibo owners, Sony design chief Yutaka Hasegawa said.
“We had intense discussions over how Aibo should be packaged, to make it look closer to a living creature. It’s important because opening the container box marks the customer’s first encounter with the dog.”
Slideshow (6 Images)
They decided to lay Aibo sideways with its head tilting to the left, a more expensive option than placing it face down because the interior packaging must be asymmetrical.
The result was a buzz among Aibo owners, with some posting on the Internet videos showing a “ceremony for opening the Aibo container.”
($1 = 112.7200 yen)
Reporting by Makiko Yamazaki; Additional reporting by Yoshiyasu Shida; Editing by Jonathan Weber and Gerry Doyle
Our Standards:The Thomson Reuters Trust Principles.
0 notes