• Archives of design research
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• v.11 no.2
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• pp.129-140
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• 1998

This study aimed to grqJe for and present guideline roodel when the qJerator of domestic small manufacturing industry try to introch1ce the first industrial design by easier and more effective method. As the method of study, first of aiL examined the necessary of introducing industrial design throogh coosidering about the role and importance of small business. And next, analysed and examined the result of researching by enquete that is for qJerators of cbnestic small business. As a result, preconditioos for effective introducing industrial design were found. And, based 00 the preconditioos that were found through researching by enquete, examined the approachable introducing methods. Finally, set up the effectivable introducing methods of industrial design for doo1estic small manufacturing industry as a graphical model. As a result of study, First, the operator of small business who try to introduce industrial design needs to be well aware of these six cooditions as a prenise of effective awroach.1) coosciousness of role and versus a nation and a people of own industry Cereative 2) managing coosideratim and examinatim of a necessity of introducing industrial design as a cata1yst 3) A certain understanding aIntt essence and value of industrial design 4) Study and examinatim about a case of sucessful introducing industrial design arxl common introducing method of small business.5) Befarehand examinatim of introducing method making use of professional design organization and consultatim wicket 6) Prodent examination about the appointlrent puprpose, method of designer and infonmtion about designer. Second, as the position of small bnsiness that introduce industrial design fur the first time, it is confirmed that the aroroach going with introducing types - preliminary introducing, partitial introducing, regular introducing, whole industry level introducing - considered necessity rate of introducing industrial design and introducing range at the same time. This method is able to approach step by step, but it is confinmed that there is a characteristic in being able to select the method freely, and understanding easily for being coostructed visual form.

• Journal of the Korean Society for Marine Environment & Energy
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• v.11 no.2
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• pp.70-77
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• 2008

In this study, to establish countermeasure from marine casualties as a basic study fur long-term prediction of topographical change around Jinudo in the Nakdong river estuary, spatio-temporal topographical change monitoring was carried out. Also, in order to estimate the deposition variations concerning SS (Suspended Solid) flux which moved at St.S1 during neap and spring tide, respectively. From the topographical monitoring, it was found that the annual mean ground level and deposition rate were 141 mm and 0.36 mm/day and all parts except the northern part of Jinudo had the active topographical changes and a tendency to annually deposit. From vertical distribution of SS net fluxes, $SS_{LH}$ (latitudinal SS net flux) during spring tide overall flows average 28 $kg/m^2/hr$ (eastward), and $SS_{LV}$ (longitudinal SS net flux) flows average 11.1 $kg/m^2/hr$ (northward). And, $SS_{LH}$ overall flows average 4.8 $kg/m^2/hr$ (eastward), and $SS_{LV}$ flows average 1.5 $kg/m^2/hr$ (northward) during neap tide similar with spring tide. The depth averaged values of the latitudinal and longitudinal SS net fluxes during spring tide were approximately 6 times higher than those during neap tide. As result of, it was considered that topographical change of southern part of Jinudo was affected by resuspension of bottom sediments due to strong current in bottom layer during flood flow.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.4 no.4
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• pp.255-265
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• 1999

CTD castings and current observations are taken in June, July and October, 1997 and May and July, 1998 to investigate the effect of the Keum River dyke on the structure of physical properties and the type of the Keum River estuary. Tide and tidal current relation shows that the ebbing is longer than the flooding by 1.5 hours with the early current reversing before high tide. In the rainy season (May to July), frequent large fresh water discharge during the ebbing from the dyke changes vertical salinity difference and time variation of salinity greatly near the head of the estuary, where salinity becomes lower than 2‰ in summer fresh water flooding. Halocline developed by the fresh water discharge makes two-layer structure, of which strength and depth increase in the low tide. The relationship between tide phase and surface salinity variation shows the phase lag of 2.5 hours near the head of the estuary but the standing wave relation down the estuary. This phase lag implies that a low salinity water diluted by the fresh water discharge for 2-3 hours in the ebb period moves with tidal excursion. In the dry season, vertical salinity difference reduces significantly. We calculate stratification and circulation parameters using the observed salinity structure, surface current and fresh water discharge. The Keum River estuary shows a partially mixed type, changing the stratification parameter from the rainy to the dry season. Mean flows of observed tidal current at lower and upper layer are landward and seaward, which are consistent with the circulation of a partially mixed estuary. Based upon the estuary type and circulation we suggest that the suspended materials will move toward the upstream due to low-layer mean flow and then the Keum River estuary will be a deposit environment.

• 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 the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.10-25
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• 2011

Since 1950, the city of Yokohama has been demanding the return of US. military base sites in Yokohama. Yokohama has established a systematic utilization plan for these relocation sites. The Fukaya communication site is one of former US. military bases verified for return in 2004. The Fukaya communication site is distinctively circular in shape and is entirely national land. Yokohama took an idea competition to its citizens to create a new park at the relocation of the Fukaya communication site, involving lots of citizen opinion in its utilization goals. This study determined the process of the idea competition at the Fukaya communication site in encouraging civic participation and analyzing citizen demands for the utilization of the relocation site. Through the idea competition, Yokohama city was able to obtain several ideas on the new park from various angles such as the function and shape of the urban open spaces. Citizens showed great interest in creating a park as green infrastructure on the Fukaya communication site. In addition, beyond utilization as an urban open space, many ideas suggested new lifestyles for the region in connection with the natural environment in the vicinity. Yokohama city tried to share the process and results of the idea competition with as many citizens as it could through a variety of means such as Participation, Judging, Support, Observation and Understanding. The case study on the idea competition at the Fukaya communication site is a good example of community design practice in public projects, and is full of suggestions for military bases in Korea, which has just established the plan of utilizing relocation sites as parks. Based on this case study, it can be concluded that it is important to make a systemic form for utilization planning with a clear process, open information and partnership in a variety of participatory design processes in order to ensure maximum civic utilization of relocation sites.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• The Journal of Society for e-Business Studies
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• v.16 no.3
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• pp.23-45
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• 2011

People could possess different self-identity under virtual world from physical world because of anonymity of the virtual world and this difference could influence their behavior in the virtual world. Based on self-discrepancy theory, this research proposes that continuous use model in self-expression goal. We defined the difference bet ween actual self~identity and ideal self~identity in the virtual world as "self-discrepancy in virtual world", and the difference between actual self-identity in the physical world and actual self-identity in the virtual world as "cross-world self-discrepancy". Before testing hypothesis, we compare the actual self-identity in the online community with the actual self-identity in the physical world, and with ideal self-identity in the virtual world. We derived an index for two different types of self-identity in terms of Personal Self-identity and Social Self-identity through factor analysis. Our results show that online community members have a higher level of ideal self-identity than actual self-identity in online community, and they have better personal self-identity in online community than physical world while a lower level of social self-identity in online community than physical world. The results of the hypothesis testing analysis based on 300 respondents showed that "self-discrepancy in virtual world" negatively influenced perceived usefulness for self-expression while "cross-world self-discrepancy" positively influenced perceived usefulness for self-expression. The perceived usefulness for self-expression and ease of use positively influence both continuous use and knowledge contribution. Specially, the effect of perceived usefulness for self-expression on knowledge contribution is much bigger than the effect of ease of use. This study extends self-discrepancy theory to virtual worlds by suggesting various types of self-discrepancy and by applying the effect of self-discrepancies in online community. Also, this study extends technology acceptance model in the personal goal in terms of self-expression. This study hopes to offer practical insights by suggesting positive effect of self-discrepancy on behavior in the online community.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.12 no.5
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• pp.67-77
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• 2017

The purpose of this study was to develop the entrepreneurial mentoring scale on start-up mentoring situation. In recent years, as the needs for entrepreneurship have grown from domestic to foreign, entrepreneurship education is actively being carried out. The entrepreneurial mentoring is strengthening its weight and contents in entrepreneurship education. However, research on the mentoring function scale designed to reflect the characteristics of entrepreneurial mentoring is rarely performed in Korea. In this study, we conducted a qualitative and quantitative research to achieve the research goal. First, we derive the entrepreneurial mentoring scales through literature review and expert group discussions, and we conducted the empirical analysis to draw conclusions. The results of this study are as follows. In the first step, literature review was conducted. In the second step, four major factors and questionnaires were derived through expert group discussion. In the third step, the doctoral level specialists developed 16 questionnaire items to measure the four factors of entrepreneurial mentoring derived from the second step and verified the content validity and the facial validity in fourth step. As a result of this survey, we conducted questionnaires on founding mentors who belonged to 17 Creation Economic Innovation Centers nationwide (153) and analyzed the problem solving, networking, communication, and motivation formation through exploratory factor analysis. This questionnaire was used to survey the entrepreneurial mentors who belonged to the 17 Center for Creative Economy and Innovation under the Ministry of Science, ICT & Future Planning of South Korea(153). In fifth step, as the results of factor analysis such as EFA and CFA, we could confirm four factors including problem solving, networking, communication, and motivation. The significance of this study is as follows. First, academic significance was the first study of the entrepreneurial mentoring function scale reflecting the characteristics of entrepreneur mentoring as a qualitative and quantitative approach in Korea. Second, it is hoped that practitioners will be able to better measure the mentoring function of entrepreneurial mentors and contribute to improving the quality of future entrepreneurial mentoring programs.

• Journal of Technology Innovation
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• v.24 no.4
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• pp.55-99
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• 2016

The paper investigates X-project, in which the public was invited to participate in a national R&D project, examines how X-project attracted the public's attention and involved them in a national R&D project, and discusses the significance and limitations of X-project. X-project was executed by a 12 citizen-led committee, financially supported by the Ministry of Science, ICT, and Future Planning, and backed by the Science and Technology Policy Institute. People raised 6,212 questions that reflected the severe needs they experienced in their daily lives through the online and offline platforms of X-project. In addition, the committee members, scholars, experts, government officials, and citizens gathered together to select the fifty most provocative and novel of the questions raised by the public, and invited public participation to answer the questions in innovative ways. 310 research teams including professional researchers from universities and institutes, high-school students, lay persons, and corporate workers applied for X-project, and 54 of these teams were finally selected to receive funding from the government. Through planning and conducting X-project, as well as interviewing and surveying the participants in X-project and non-participants, we found that there was an enormous social consensus on the necessity of public participatory national R&D projects. People asserted that science and technology should put a greater focus on solving social problems and satisfying public needs. We also confirmed that the public could take part in national R&D projects. Most of all, we found that the questions raised by the public were very challenging, novel, and complex, and thus researchers need break-through approaches to address them. It can be also argued that through experiencing the X-project citizens can regard themselves as ones who are not only recipients of the benefits of the development of science and technology, but also contributors of the development of them. We finally argue that there are some limitations to X-project in terms of how to provide diverse incentives that attract more participation, how to develop the process in which people got involved in the project in more easy ways, and how to create new ways for lay persons and professional researchers to cooperate in solving social problems.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.