• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1903-1914
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• 2008

The purpose of this study was to propose an efficient and feasible global market entry strategy for the Korean apparel industry by analyzing the Italian fashion industry. In particular, the study investigated the role of foreign exhibitions and showrooms supported and organized by Italian fashion organizations. The methodology for this study was to analyze industrial reports, review previous studies and conduct in-depth interviews with 23 industry experts in Italy, Korea and LA. The results indicated that the most prominent factor in the Italian fashion industry was the fashion cluster, which is a strong and organic network of diverse fashion related areas No matter the size of the enterprise, firms can get practical, prompt and efficient support from diverse associations. The network operated by the associations provides strong support to each firm by organizing collections and exhibitions, and providing promotional activities. Showrooms and agents are another supportive "gate keeper", directly related to an enterprise's sales. However, Korean fashion firms did not have enough information or knowledge for foreign exhibitions, nor did they make aggressive promotional efforts in the global market. Despite the many fashion-related associations exist in Korea, their programs are too focused on visible accomplishments and are too oriented on "big company" and "big voice", rather than many "small firms". In conclusion, the Korean fashion industry-particularly the fashion industry in Seoul-has strong potential to become the center of the global fashion market in the future. However, the fashion support system that can act as the channel to promote firms and to meet global buyers needs to be supplemented. To feasibly create this system, government or industry associations should develop a strong and generous support system and network, and they must recognize the need for small firms to exist.

• Journal of The Korean Society of Grassland and Forage Science
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• v.5 no.2
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• pp.100-105
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• 1985

To find out the optimum level of nitrogen fertilization and better distribution of application time for seed production of Festuca arundianacea S. (var. Alta), this filed experiment was performed at Livestock Experiment Station in Suweon, during 1979 to 1981. The treatments used in this study were three nitrogen fertilizing levels (120, 180 and 240kg/ha) and four different methods of nitrogen distribution (i. single application of whole amount in early Spring, ii. 50 percent each in Autumn and early Spring, iii. 50 percent each in early Spring and at begin of heading stage and iv. 50 percent in Autumn and 25 percent in early Spring and at begin of heading stage respectively). The experiment was arranged as a split-plot design with 4 replications and performed at the experimental field of the Livestock Experiment Station in Suweon, during 1979 to 1981. The results obtained are summarized as follows: 1. Date of heading stage of Festuca arundinacea was about May 21 and that of flowering stage was June 1 to 3. The optimum stage for the seed harvesting of Festuca arundinacea (var. Alta) was June 25 about 22 to 23 days after full flowering stage. Average plant height was about 127cm and the panicle length, 24cm. 2. 1000 grain weight was 2.72g and the number of panicles were 85 to 107 per square meter. 3. The mean seed wield for two years was 678.8kg/ha with the average of whole treatments and 781.9kg/ha with the best treatment (50 percent in Autumn and 25 percent in early Spring and at begin of heading stage with 240kg/ha respectively). 4. The average germination rate of harvesting seeds was 87.0 percent and it was increasing trend according to frequent application of fertilizer. 5. The average DM yield of aftermath seed harvesting was 6155kg/ha with two cut, and it was the largest DM yield from the higher nitrogen level and also from the single application in early Spring.

• Journal of The Korean Society of Grassland and Forage Science
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• v.5 no.2
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• pp.136-142
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• 1985

For better grassland development in the forest, this field experiment was carried out to investigate the effect of thirteen different fertilizer levels of nitrogen(N), phosphorus ($P_2O_5$) and potassium ($K_2O$) on the botanical composition, growth and dry matter yield of grass-clover mixtures grown under trees with 40-50% of shading level. This experiment was arranged as a randomized block design with replications, and performed on the experimental field in the suburban forest of Suweon in 1984. The results obtained are summarized as follows: 1. Plant height and cover degree of grasses found to be high with 28 and 42kg N fertilizer per 10a, while those were the lowest with zero and N-zero fertilizer levels. The degree of bare land after the fourth cut was also high in the low N level. 2. A significant higher degree of leaf green and chlorophyll content of leaf blade was observed in the plot of 28 and 42 kg N per 10a when compared with low N fertilizer plot. However, leaf decay and plant type of grasses tended to be a little poor as the high N was applied. 3. the regrowth plant length and dry weight of grasses after the first cut increased significantly with 28 and 42 kg N fertilizer. However, those showed slightly increased regrowth in the plot of zero and N-zero fertilizer levels. 4. The dry matter yield of grasses was higher with 28 and 42 kg N than that of low N fertilizer level. Higher yields were obtained in the plot of standard ($N-P_2O_5-K_2O$=28-20-24 kg/10a), 50% increase of $N,P_2O_5K_2O$ and N-50% increase, although there were no significant differences among three fertilizer levels. 5. Growth, botanical composition, regrowth and yield of grasses grown under pine trees were significantly influenced by N fertilizer level, regardless of $P_2O_5\;and\;K_2O$. The fertilizer level of $N-P_2O_5-K_2O$ was 28-20-24 kg per 10a for more forage production in the forest. Considering economic yield in this study, however, the optimum fertilizer level of N, $P_2O_5\;and\;K_2O$ was suppose to be 21-28, 10-15, and 12-18kg per 10a, respectively.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Journal of Wetlands Research
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• v.10 no.2
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• pp.115-128
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• 2008

Various human activities such as the Urbanization and Industrialization are estimated the main factors to pollute the stream. Now days, numerous studies are carried out for managing non-point sources which have un-effect on water quality of streams by land-use and livestock. In case of Korea, a matter of concern that the management of Pal dang reservoir - the main water resources of the national capital region - has been occurring. Especially, large-scale constructed-wetlands are planned and constructed at the end of Kyoung-an stream. Additionally a lot of sewage treatment plants are newly installed and extended in this watershed. According to these efforts, water quality of Kyoung-an stream is predicted that would be improved. But the more detail and scientific analysis should be carried out for the water quality improvement, because, existing water quality improvement projects are not involved to analyze root of water quality deterioration and improvement plans. Therefore, this study aims to select suitable areas for constructed-wetlands and to calculate size of the constructed-wetlands for water quality improvement in Kyoung-an stream through the geographical pollutant distribution analysis and land-use pattern analysis by high resolution satellite image and suitable area analysis of constructed-wetlands by GIS(Geographic information system). The progress of this study is (1) to select maximum pollutant loaded area by geographical analysis based on water quality data, (2) to analyze land-use patterns using high resolution satellite image, (3) to select suitable areas of constructed-wetlands, (4) to calculate area and volume of chosen constructed-wetlands using GIS. Basically, sizes of constructed-wetlands are induced through the constructed-wetlands design index based on treatment ratio(provided by Korea Water Resources Corporation). As a result of this study, two areas are selected to construct constructed-wetlands. One of the area was $127,586m^2$ near by Yong-in sewage treatment plant, and the other area was $1,647m^2$ near by Ju-buk stream and Dae-dae stream.

• Journal of Korea Game Society
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• v.4 no.4
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• pp.11-18
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• 2004

The on-line games in the past were played by only two persons exchanging data based on one-to-one connections, whereas recent ones (e.g. MMORPG: Massively Multi-player Online Role-playings Game) enable tens of thousands of people to be connected simultaneously. Specifically, Korea has established an excellent network infrastructure that can't be found anywhere in the world. Almost every household has a high-speed Internet access. What made this possible was, in part, high density of population that has accelerated the formation of good Internet infrastructure. However, this rapid increase in the use of on-line games may lead to surging traffics exceeding the limited Internet communication capacity so that the connection to the games is unstable or the server fails. expanding the servers though this measure is very costly could solve this problem. To deal with this problem, the present study proposes the load distribution technology that connects in the form of local clustering the game servers divided by their contents used in each on-line game reduces the loads of specific servers using the load balancer, and enhances performance of sewer for their efficient operation. In this paper, a cluster system is proposed where each Game server in the system has different contents service and loads are distributed efficiently using the game server resource information such as CPU utilization. Game sewers having different contents are mutually connected and managed with a network file system to maintain information consistency required to support resource information updates, deletions, and additions. Simulation studies show that our method performs better than other traditional methods. In terms of response time, our method shows shorter latency than RR (Round Robin) and LC (Least Connection) by about 12%, 10% respectively.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.9-20
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• 2008

The government is planning to link a small park with the soon to be ready subway line 9 as a part of Seoul's policy, "The standard or plan for making a water-friendly space by water use" (2007). However, the specified concepts and instructions of the small parks need further work. Therefore, the policy is expected to expand to neighboring small parks near the subway station, but these are not supported by research or data which suggests the needs or actual user behavior and utilization of small parks. our country added the specified concept of small parks and theme parks to the classification of urban parks in the Urban Park Act Revision (2005.3.31), but the concept of small parks is not clearly settled in the law in the scopes of its function, scale, promotion nor particularly defined plans for small park projects. This study examines as small park near a subway station. The characteristics of there region and users vary from the characteristics of the station and region. In the "directions for concrete standards under the types of urban parks and green zones" (2007.2) the types of small parks are classified by "regional characteristics" and "user characteristics". Therefore, this study classifies the subject of neighboring small parks near subway stations as the neighborhood and small urban parks according to the Urban Park Act. The study was paralleled with observation and questionnaires on the analysis of the neighborhood and small urban parks. The actual conditions of park utilization and user behavioral characteristics were deducted by observation, while the questionnaire determined actual user utilization, importance and satisfaction level as well as the small park environment. This study largely focused on three aspects: park facility, design of this sentence isn't even complete. The second aspect isn't finished and the third isn't here.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.