Tag Archives: Korea

*Event

Why did a ham and beer pop-up beat a fashion pop-up during COVID?

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I was recently invited to speak at the Duncan Anderson Design Lecture Series, hosted by Professor Wesley Woelfel at the Department of Design, California State University, Long Beach. Unlike my previous virtual talk, this time I traveled to Long Beach and delivered the lecture in person.

My presentation focused on an ongoing collaborative research project with Nayoung Yoon at Aalto University and Wonseok Choi at Project Rent. Nayoung contributes perspectives of brand managers and consumers and Wonseok provides practical knowledge gained from launching over 200 pop-up stores throughout Seoul.

The lecture began with three landmark cases including Simmons Grocery Store. Following this, I presented four recent pop-up stores operated by Project Rent, each carefully designed around unique goals. Among them was the Ghana Chocolate House, an innovative pop-up store reshaping brand perception.

The audience paid attention to not only cases but also numbers. To illustrate this, I shared preliminary findings from data we collected during July 2020, at the height of the COVID-19 pandemic in Seoul. The graph shows daily visitor counts for two pop-up stores, a ham and beer pop-up (solid line) and a fashion pop-up (dotted line), alongside daily COVID-19 case numbers (green line). During pandemic restrictions, the food and beverage pop-up consistently attracted more visitors than the fashion pop-up when operating. These findings, highlighting the appeal of experiential consumption, were presented by Nayoung in 2024.

We plan to deepen our analysis and provide further insights into how brands can leverage pop-up stores.

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Reference

Yoon, N., & Joo, J. (2024). Experience matters when not restricted: The impact of product type and COVID-19 restrictions on pop-up store visits. Proceedings of the European Marketing Academy, 53rd, (119359)

By taking empirics-first research approach, we study the effect of product type and COVID-19 restrictions on pop-up store visits. This quasi-experimental study uses store traffic and store-entry ratios of four pop-up stores displaying different product types (i.e., experience goods or search goods) at varying times (before or after the COVID-19 restrictions). Our research shows that pop-up store visits were higher when a store displayed experience goods than search goods before the COVID-19 restrictions. However, the store visits to experience goods pop-up stores plummeted after the imposition of restrictions, higher than search goods, suggesting the restrictions’ stronger detrimental effect on experience goods. Our findings advance research on consumer behavior relating to pop-up store products and the impact of mobility restrictions on store visits.

*Event

When less fails: The cost of removing diagnostic design elements

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At the recent O’Malley School of Business (OMSB) Seminar at Manhattan University, I shared our research on minimalist design. This collaborative work with Yooncheol Shin, then a graduate student at the Techno Design Graduate School at Kookmin University and now a UX researcher at the Customer Experience Center at Woori Bank, explores when simplicity enhances consumer preference, and when it backfires.

We conducted one lab experiment and one field experiment to test a key idea: not all design elements contribute equally to how consumers form their preferences.

We found that removing LESS diagnostic design elements (e.g., buttons for play, forward, or backward songs) from an MP3 player increased participants’ preference. However, removing HIGHLY diagnostic design elements (e.g., buttons for equalizer, foreign song translation, or T-base) did not produce the same effect.

Our findings challenge the widely accepted “less is more” mantra. By connecting design practice and marketing theory, we offer practical insights for UX designers and brand managers who want to simplify without losing impact.

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Reference

Pieters, R., Wedel, M., & Batra, R. (2010). The stopping power of advertising: Measures and effects of visual complexity. Journal of Marketing, 74(5), 48–60.

Advertising needs to capture consumers’ attention in likable ways, and the visual complexity of advertising plays a central role in this regard. Yet ideas about visual complexity effects conflict, and objective measures of complexity are rare. The authors distinguish two types of visual complexity, differentiate them from the difficulty of comprehending advertising, and propose objective measures for each. Advertisements are visually complex when they contain dense perceptual features (“feature complexity”) and/or when they have an elaborate creative design (“design complexity”). An analysis of 249 advertisements that were tested with eye-tracking shows that, as the authors hypothesize, feature complexity hurts attention to the brand and attitude toward the ad, whereas design complexity helps attention to both the pictorial and the advertisement as a whole, its comprehensibility, and attitude toward the ad. This is important because design complexity is under direct control of the advertiser. The proposed measures can be readily adopted to assess the visual complexity of advertising, and the findings can be used to improve the stopping power of advertisements.

Publications

When AI tries to be a logo designer… and fails

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In our newly published paper in Visual Communication, Renato Bertao, MyeongHeum Yeoun, and I explored how well AI powered logo makers actually perform. We tested several popular tools and asked design experts to evaluate the results. Many of the logos they produced lacked essential design principles such as proportion, balance, and unity. AI can generate logos quickly, but when it comes to well crafted design, it still falls short.

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Reference

Bertao, R. A., Yeoun, M., and Joo, J. (2025), A blind spot in AI-powered logo makers: visual design principles, Visual Communication, 24 (1), 222-250.

Abstract

Artificial intelligence is already embedded in several digital tools used across design disciplines. Although it offers advantages in automating and facilitating design tasks, this technology has constraints to empowering practitioners. AI systems steadily incorporate machine learning to deliver meaningful designs but fail in critical dimensions such as creativity. Moreover, the intensive use of AI features to provide a design solution – so-called AI design – challenges the boundaries of the design field and designers’ roles. AI-powered logo makers exemplify a horizon where non-designers can access design tools to create a personal or business visual identity. However, in the current context, these online businesses are limited to randomize layout solutions lacking the visual properties a logo requires. This article reports mixed-method research focusing on AI-powered logo makers’ processes and outcomes. We investigated their capability to deliver consistent logo designs and to what extent their algorithms address logo design principles. Initially, our study identified representative visual principles in logo design-related literature. After probing AI-powered logo makers’ features that enable logo creation, we conducted an exploratory experiment to obtain solutions. Finally, we invited logo design experts to evaluate whether three visual principles (proportion, balance and unity) were incorporated into the layouts. The assessment’s results suggest that these AI design tools must calibrate the algorithms to provide solutions that meet expected logo design standards. Even focusing on a particular AI tool and a few visual principles, our research contributes to initial directions for developing algorithms that embody the complex aspects of visual design syntax.

Keywords

AI-powered logo maker, logo design, visual design principles, AI design, artificial intelligence

Cases

Why do some stores attract me like magnets?

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It is hard to find souvenirs in California that are not available in Korea. Because of this, I do not usually feel drawn to specific stores. However, Jupiter & Main at Half Moon Bay caught my attention. This store carefully selects items made from natural materials and hand-crafted designs. The collection includes leather goods and handmade decor.

I could not pass by another store, Makers Market at Santana Row in San Jose. This store also features handcrafted goods made from natural materials. The range includes leather, wood, and textiles, all showcasing expert craftsmanship.

I am attracted to these stores likely because of a psychological association between the material of a product and the perception of its authenticity. For example, when a material like leather is local, I may assume that the finished product is also local. While this perception is not always accurate, it becomes stronger when handmade or hand-crafted elements are involved. This association makes handmade crafts using leather or natural materials particularly appealing as souvenirs. As someone who values authenticity, these products feel local, and stores featuring them create local experience.

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Reference

Beverland, M. B., & Farrelly, F. J. (2010). The quest for authenticity in consumption: Consumers’ purposive choice of authentic cues to shape experienced outcomes. Journal of consumer research, 36(5), 838-856.

Drawing from image-elicited depth interviews, we investigate whether consumers pursue the consumption of authentic objects with specific personal goals in mind. We find that consumers are motivated to focus on those particular cues in objects that for them convey authenticity (what is genuine, real, and/or true) and that this decision-making process is driven by a desire to draw different identity benefits (control, connection, virtue) from authentic objects. Our interpretive analysis elaborates contributions to theorizing related to consumer agency in seeking authentic consumption experience. We provide cultural explanations for the desire to assert the authentic self in these particular ways.

Cases

Vintage speakers that do not play: The art of deception in cafe design

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Salon de Jungui Lee is a cafe in Jeju island. With minimal construction and a commitment to preserving its essence, the owner of the old house transformed it into a cafe that embodies her philosophy of refined simplicity.

This cafe is a popular destination among Korean coffee lovers. Coffee is excellent, but its desserts are not overly sweet, not sticky, nor heavy treats. To me, each bite was a carefully orchestrated symphony of taste and texture.

Beyond taste, its atmosphere was unique. The pinnacle was the air conditioner vent. Instead of a tasteless plastic vent, a repurposed traditional Korean window frame was hanging on the ceiling. It was functional, beautiful, and deeply rooted in cultural heritage.

While enjoying coffee, dessert, and unique air conditioner vent, I naturally assumed that the vintage speaker pumped out the tunes. However, it was actually a cleverly disguised modern Bose system connected to an iPhone.

Salon de Jungui Lee taught me a valuable lesson about experience. It is not just about the individual components – the coffee, the desserts, or the décor. It is about how these elements come together to create something greater than the sum of its parts.

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Reference

Hogarth, R. M. (2005). Deciding analytically or trusting your intuition? The advantages and disadvantages of analytic and intuitive thought. In The Routines of Decision Making (pp. 67–82).

Recent research has highlighted the notion that people can make judgments and choices by means of two systems that are labeled here tacit (or intuitive) and deliberate (or analytic). Whereas most decisions typically involve both systems, this chapter examines the conditions under which each system is liable to be more effective. This aims to illuminate the age-old issue of whether and when people should trust “intuition” or “analysis.” To do this, a framework is presented to understand how the tacit and deliberate systems work in tandem. Distinctions are also made between the types of information typically used by both systems as well as the characteristics of environments that facilitate or hinder accurate learning by the tacit system. Next, several experiments that have contrasted “intuitive” and “analytic” modes on the same tasks are reviewed. Together, the theoretical framework and experimental evidence leads to specifying the trade-off that characterizes their relative effectiveness. Tacit system responses can be subject to biases. In making deliberate system responses, however, people might not be aware of the “correct rule” to deal with the task they are facing and/or make errors in executing it. Whether tacit or deliberate responses are more valid in particular circumstances requires assessing this trade-off. In this, the probability of making errors in deliberate thought is postulated to be a function of the analytical complexity of the task as perceived by the person. Thus the trade-off is one of bias (in implicit responses) versus analytical complexity (when tasks are handled in deliberate mode). Finally, it is noted that whereas much attention has been paid in the past to helping people make decisions in deliberate mode, efforts should also be directed toward improving ability to make decisions in tacit mode since the effectiveness of decisions clearly depends on both. This therefore represents an important frontier for research.

Cases

How thick is 2cm-thick steak?

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Thickness matters when cooking steak. A rule of thumb is to cook a 2cm-thick piece of steak for 2 minutes for rare, 4 minutes for medium, and 6 minutes for well-done. However, we struggle with guessing how thick a piece of steak is. Seven years ago, I met a clever solution for this problem at a grocery store where there was a manually carved wood plank. Since it shows how professional providers empathize with novice customers, I have shared it with many planers and designers. Recently, I met a similar but more carefully designed wood plank at a different grocery store in Seoul, Korea. According to the website, Gourmet 494 is

a space for food, entertainment and communication, built on the concept of “grocerant” (grocery + restaurant) for the first time in Korea where groceries (food ingredients) and restaurants (food and beverages) come together in one place

Wood plank tells that thickness is difficult for people to evaluate. A specific value (e.g., 2 cm) is hard to tell another value (e.g., 3 cm) because we are not sensitive about it. About this issue, a group of psychologists introduced a concept of General Evaluability Theory about 10 years ago.

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Reference

Hsee, C. K., & Zhang, J. (2010). General evaluability theory. Perspectives on Psychological Science, 5(4), 343-355.

A central question in psychology and economics is the determination of whether individuals react differently to different values of a cared-about attribute (e.g., different income levels, different gas prices, and different ambient temperatures). Building on and significantly extending our earlier work on preference reversals between joint and separate evaluations, we propose a general evaluability theory (GET) that specifies when people are value sensitive and when people mispredict their own or others’ value sensitivity. The GET can explain and unify many seemingly unrelated findings, ranging from duration neglect to affective forecasting errors and can generate many new research directions on topics ranging from temporal discounting to subjective well-being.

In the section of Nature, the authors wrote the following. According to them, human beings do not seem to have an innate or stable scale to evaluate values on thickness.

Nature refers to whether human beings have an innate and stable physiological or psychological “scale” (reference system) to evaluate values on an attribute. The attribute is inherently evaluable if they do or inherently inevaluable if they do not. Ambient temperature is an example of an inherently evaluable attribute; even without learning or social comparison, we can tell what temperature makes us comfortable and happy and what does not. Other examples include amount of sleep, social isolation, or connectedness. The size of a diamond and the power of a car are examples of inherently inevaluable attributes; without learning or comparison, we would not know how to assess such variables. Of course, some people know how to evaluate diamond size and car power, but such knowledge is learned, not innate. Because people possess innate reference systems for inherently evaluable attributes but not for inherently inevaluable attributes, value sensitivity (without learning or comparison) is higher for inherently evaluable attributes (H1.3). More precisely, people in SE are more sensitive to differences on an inherently evaluable attribute than to differences on an inherently inevaluable attribute, holding their sensitivity to the two types of differences in JE constant; see our discussion of the Mode × Value × Nature interaction later in this article.

It should be noted that classifying a variable as inherently evaluable does not mean that it is immune to the influence of external reference information (such as social comparison); instead, it means that people can evaluate the variable even without such information. Also, inherently evaluable variables are not always associated with basic biological needs—they also include socio-psychological variables, such as loneliness, depression, and sense of achievement. (For details, see Hsee, Yang, Li, & Shen, 2009.)

Cases

Chinese people need more than a drinking fountain

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We know that westerners and easterners think differently. Markus and Kitayama (1991) argue that different cultural thoughts come from different self concepts. Roughly speaking, a US citizen has an independent concept whereas a Japanese citizen has a dependent one.

Although this paper claims that Asians think similarly regardless of whether they are Chinese, Japanese, or Korean, they in fact do not necessarily behave in the same way. For instance, Asians seem to communicate in different modes depending on where they live.

I recently noticed significant differences in preferred water temperatures. At Hong Kong International Airport, Chinese airline passengers bypassed the drinking fountain entirely, instead opting to line up at a hot water dispenser with their own containers. In contrast, I cannot imagine Koreans doing the same, especially when cold water is readily available nearby. Cultural preferences in Asia is significant!

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Reference

Markus, H. R., & Kitayama, S. (1991). Culture and the self: Implications for cognition, emotion, and motivation. Psychological review, 98(2), 224.

People in different cultures have strikingly different construals of the self, of others, and of the interdependence of the 2. These construals can influence, and in many cases determine, the very nature of individual experience, including cognition, emotion, and motivation. Many Asian cultures have distinct conceptions of individuality that insist on the fundamental relatedness of individuals to each other. The emphasis is on attending to others, fitting in, and harmonious interdependence with them. American culture neither assumes nor values such an overt connectedness among individuals. In contrast, individuals seek to maintain their independence from others by attending to the self and by discovering and expressing their unique inner attributes. As proposed herein, these construals are even more powerful than previously imagined. Theories of the self from both psychology and anthropology are integrated to define in detail the difference between a construal of the self as independent and a construal of the self as interdependent. Each of these divergent construals should have a set of specific consequences for cognition, emotion, and motivation; these consequences are proposed and relevant empirical literature is reviewed. Focusing on differences in self-construals enables apparently inconsistent empirical findings to be reconciled, and raises questions about what have been thought to be culture-free aspects of cognition, emotion, and motivation.

Cases

Is picture worth a thousand words?

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Japanese draw, Chinese speak, and Koreans write. This is my temporary conclusion about how people communicate in three countries. I *suspect* Japanese draw because they intend to help readers understand messages correctly (receiver-oriented), Chinese speak because they find typing Chinese characters difficult (sender-oriented), and Koreans write because these two reasons do not apply (message-oriented, maybe).

 

 

Since Japanese like drawing, cartoon is frequently spotted in Japan. At one train station in Fukuoka, for instance, cartoon boards say that people should not throw away cigarette butts, riders should not sit down with their legs spread, women should not put up cosmetics in the train, and riders should not open up their newspaper wide.

 

 

Although cartoon is easy to understand, I wonder whether cartoon works for Chinese listeners or Korean readers.

 

Cases

Yido, a modern Korean pottery

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Yido is a widely-known premium pottery brands in Korea. It was found by Yi, Yoonshin, a ceramic artist. She successfully established herself in the business world not only because her work reinterprets traditional Korean ceramics in refined contemporary design but also because she paid attention to the two marketing lessons.

First, she listens to market. Recently, Yido launches a new collection called Cera/Mano. Differently from other collections which has four pieces of bowls for a family of four, this newly launched collection consists in only one piece designed for single family buyers.

DML_Yido

Second, she goes beyond products. In the four-story flagship store, only one floor is dedicated to ceramic-ware sales. on other floors, a Italian restaurant, a brunch cafe, a ceramic academy, and a art and living store run. If other ceramic designers learn these marketing lessons, I assume, they will be able to become market-savvy designers.

Reference

Joo J. & Peterson, S. (2012), “Learning about innovative risk mediation strategies from entrepreneurs in creative industries,” AAG 2012, Working with Freedom: Learning about innovative risk mediation strategies from entrepreneurs in creative industries, New York.

Creative entrepreneurial ventures are characterized by uniquely personal branded offerings with enormous potential for profit, combined with huge market and execution risk. What differentiate creative entrepreneurial ventures from that of technology ventures are their dependency on a few individuals’ intangible breakthrough ideas. The absence of process control and metrics for evaluating cost, risk and required time commitment makes Return On Investment (ROI) impossible to assess.

Consequently, private investments are virtually unattainable. The subsequent extreme financial pressure combined with ineffective processes leads to destructive behaviors. Traditionally, three independent and mutually supportive approaches exist to mitigate risk and increase profit in creative ventures. These are: (1) Education: Providing market and executions knowledge and experiences through schooling, internships and apprenticeships, (2) Funding: Government and/or trade association backed with coaching and financing, and (3) Collaboration: Pooling of resources and creative talent to leverage individual talents and mitigating risk.

We propose using Design Research, Design Thinking and technology venture insights to develop methods and tools for sustainably running creative entrepreneurial ventures. First, we will identify best practices, by qualitative research within the creative fields of design, music, game, movie and art in the cultural settings of Los Angeles, Copenhagen and Seoul. Secondly, we identify knowledge transfer opportunities and conduct brainstorming sessions to synthesize new methods and tools. The outcome will be a creative portfolio management matrix, outlining how to best take ideas from concept to commercialization as a function of market and execution risk for the examined creative disciplines.

Cases

How could we design a better fire extinguisher?

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IMG_1229

Since we spend most of our time in buildings, we are literally surrounded by fire extinguishers. It consists of a hand-held cylindrical pressure vessel containing an agent which can be discharged to extinguish a fire (Wikipedia). In general, we do not pay attention to them until needed. For me, I have never used any fire extinguisher in my life and have no interest in it. Interestingly, designers have noticed their problems and came up with two fairly different but equally interesting solutions.

Typical fire extinguishers have two critical problems. First, they are often ignored and difficult to be located. Even though they are red colored, fire extinguishers merely stand still and fail to grab our attention. Further, they do not go well with walls or interiors.

Recently, I found a series of eye-catching fire extinguishers at a store. In order to solve the first problem, some designers changed the appearance of the fire extinguishers. They painted skins to make them visually appealing and to make them go well with the walls. Some of the newly painted fire extinguishers look so nice that I even wanted to buy them for home decor.

DML_Fire distinguisher

The second problem is that typical fire extinguishers are difficult to use in emergency situations. Therefore, instruction manuals are prepared. A practice session runs for those who want to try to use them in advance.

Recently, I found another, newly designed fire extinguishers in a building. Designers changed the size and the container material so that the shape “says” how to use. Now, we do not have to spend time on learning how to use them; instead, we can simply  pick up one or a few water-bottle shaped fire extinguishers and throw them on a fire.

These two fire extinguishers teach me what designers do for us. Designers change the appearance of a product; alternatively, they change the way we use it.