This study was conducted to develop the technique for cultivation of forage crops using swine slurry in fallow paddy land located in the mid-mountain area (FPL). The field experiments were carried out from 2007 to 2009 on FPL at Kumsan, Chungbuk province in Korea. Swine slurry was prepared which decayed for 6 months. The experimental plots were consisted of seven treatments; tall fescue-based mixed pasture applied with chemical fertilizer (Control), mono-tall fescue pasture (MTF), tall fescue-based mixed pasture (TFBM), mono-Perennial ryegrass (MPR), mono-Italian ryegrass (MIR), mono-Red clover (MRC and mono), Reed canarygrass (MRCG) applied with swine slurry. The field of tall fescue-based pasture had been sown with a grasses mixture containing 'Fawn' tall fescue, 'potomac' orchardgrass, 'Reveille' Perennial ryegrass, and 'kenblue' Kentuky bluegrass, 'Kenland' Red clover. Seeding rates were 16, 6, 4, 2 and 2 (kg) per ha, respectively. DM yields of forages and rates of grass coverage were higher in MTF, TFBM and MRCG as compared with control treatment. This result means that FPL has contained with favorable conditions for growing grass, because forage productivity is more than 14.5 tons per ha per year in fallow paddy land. In addition, the farmer can save the trouble of repeated plowing and sowing every year, with the introduction of perennial grasses. The farmer must conduct the re-seeding and induce the improvement of management methods for the elevation of the persistence of red clover and perennial ryegrass, because both red clover and perennial ryegrass having high nutritive value and palatability was less persistent. Therefore, we suggest that FPL may be the good land for forage production utilizing swine slurry and swine slurry can be applied on FPL without any negative effects on DM production and the property of soil. FPL of Korea can be better utilized by applying swine slurry to the mono and/or mixed swards.
There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the