• Journal of the Economic Geographical Society of Korea
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• v.27 no.1
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• pp.38-52
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• 2024

Digital transformation industry contributes to the improvement of productivity in overall industrial production, the smart green industry for carbon neutrality and sustainable growth is growing as a future industry. The purpose of this paper is to explore the status and role of the industry in the future industry innovation ecosystem through the analysis of the growth drivers and location pattern changes of the smart green industry. The industry is on the rise in both metropolitan and non-metropolitan areas, and the growth of the industry can be seen in non-metropolitan and non-urban areas. In particular, due to the smart green industrial complex pilot project, the creation of Gwangju Jeonnam Innovation City, and the promotion of new and renewable energy policies, the emergence of core aggregation areas (HH type) in the coastal areas of Honam and Chungcheongnam-do, and the formation of isolated centers (HL type) in the Gyeongsang region, new and renewable energy production companies are being accumulated in non-metropolitan areas. Therefore, the smart green industry is expected to promote the formation of various specialized spokes in non-urban areas in the future industrial innovation ecosystem that forms a multipolar hub-spoke network structure, where policy factors are the triggers for growth.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.26 no.6
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• pp.135-154
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• 2023

Urban wetlands provide various ecosystem services and are subject to restoration and creation projects due to their increased value in the context of climate change. However, the vegetation structure of wetlands is sensitive to environmental changes, including artificial disturbances, and requires continuous maintenance. In this study, we conducted a vegetation survey of three wetlands created as part of a project to restore urban degraded natural ecosystems and monitored the quantitative changes in wetland vegetation structure using an unmanned aerial vehicle. The vegetation survey revealed 73 species in Incheon Yeonhui wetland, and the change in vegetation composition based on wetland occurrence frequency was 11.5% on average compared to the 2018 vegetation survey results. The vegetation survey identified 44 species in Busan Igidae wetland, and the proportion of species classified as obligate upland plants was the highest at 48.8% among all plants, while the proportion of naturalized plants accounted for 15.9% of all plants. The open water surface area decreased from 10% in May 2019 to 6.7% in May 2020. Iksan Sorasan wetland was surveyed and 44 species were confirmed, and it was found that the proportion of facultative wetland plant decreased compared to the 2018 vegetation survey results, and the open water surface area increased from 0.4% in May 2019 to 4.1% in May 2020. The results of this study showed that wetlands with low artificial management intensity exhibited a tendency for stabilization of vegetation structure, with a decrease in the proportion of plants with high wetland occurrence frequency and a relatively small number of new species. Wetlands with high artificial management intensity required specific management, as they had a large change in vegetation structure and a partially high possibility of new invasion. We reaffirmed the importance of continuous monitoring of vegetation communities and infrastructure for wetlands considering the function and use of urban wetlands, and restoration stages. These research results suggest the need to establish a sustainable wetland maintenance system through the establishment of long-term maintenance goals and monitoring methods that consider the environmental conditions and vegetation composition of wetlands.

• Journal of Advanced Technology Convergence
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• v.3 no.3
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• pp.17-27
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• 2024

This study focuses on the development and evaluation of a chatbot system based on the International Classification of Functioning, Disability, and Health (ICF) framework to enhance community participation among elderly individuals with mild dementia in South Korea. The study involved 12 elderly participants who were living alone and had been diagnosed with mild dementia, along with 15 caregivers who were actively involved in their daily care. The development process included a comprehensive needs assessment, system design, content creation, natural language processing using Transformer Attention Algorithm, and usability testing. The chatbot is designed to offer personalized activity recommendations, reminders, and information that support physical, social, and cognitive engagement. Usability testing revealed high levels of user satisfaction and perceived usefulness, with significant improvements in community activities and social interactions. Quantitative analysis showed a 92% increase in weekly community activities and an 84% increase in social interactions. Qualitative feedback highlighted the chatbot's user-friendly interface, relevance of suggested activities, and its role in reducing caregiver burden. The study demonstrates that an ICF-based chatbot system can effectively promote community participation and improve the quality of life for elderly individuals with mild dementia. Future research should focus on refining the system and evaluating its long-term impact.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.61-69
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• 2024

The Geonjae Old House Garden of Asan Oeam Village contains historical and academic values as a major element of the village's landscape, along with the village's feng shui geographical conditions and artificial roads that pass through the village, which represent the village. Although some have been maintained over a long period of time, many of them have been lost, disturbed, and distorted. The main houses of Oeam Village had traditional gardens, but the garden of the Geonjae Old House is a place where different garden cultures coexist in one place due to the creation of Japanese-style gardens in Japanese colonial era. This study predicts the past through genetic analysis of the garden of the Geonjae Old House, and establishes a restoration plan for the garden of the Geonjae Old House through historical restoration of the results. In addition, the purpose of this study is to suggest a way to avoid damage in restoring the original form of cultural properties as much as possible and to facilitate the preservation and management of cultural properties. As a result of contrast with past photographs and on-site evidence, it was found that the garden of the Geonjae Old House has a different shape from its previous appearance due to repeated distortion and damage. In addition, it was possible to suggest a restoration method that could reproduce the appearance of the past through genetic analysis.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.4-14
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• 2010

Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. This study addresses the specific types of collaboration used in the fashion industry while also examining strategies that have been most successful for fashion companies and perceived benefits of collaboration from the customer perspective. In the present study we define fashion companies and brands as collaborators and their partners or stakeholders as collaboratees. We define collaboration as a cooperative relationship where more than two companies, brands or individuals provide customers with beneficial outcomes utilizing their own competitive advantages on an equal basis. Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. Through collaboration, fashion companies have pursued both tangible differentiation, such as design and technology applications, and intangible differentiation such as emotional and psychological benefits to customers. As a result, collaboration within the fashion industry has become an important, value creating concept. This qualitative study utilized case studies and in-depth interview methodologies to examine customers' attitudes concerning collaboration in the fashion industry. A total of 173 collaboration cases were identified in Korean and international markets from 1998 through December 2008, focusing on fashion companies. Cases were collected from documented data including websites and industry data bases and top ranked portal search sites such as: Rankey.com; Naver, Daum, and Nate; and representative fashion information websites, Samsungdesignnet and Firstviewkorea. Cases were collected between November 2008 and February 2009. Cases were selected for the analysis where one or more partners were associated with the production of fashion products (excluding textile production), retail fashion products, or designer services. Additional collaboration case information was obtained from news articles, periodicals, internet portal sites and fashion information sites as conducted in prior studies (Jeong and Kim 2008; Park and Park 2004; Yoon 2005). In total, 173 cases were selected for analysis that clearly exhibited the benefits and outcomes of collaboration efforts and strategies between fashion companies and stakeholders. Findings show that the overall results show that for both partners (collaborator and collaboratee) participating in collaboration, that the major benefits are reduction of costs and risks by sharing resource such as design power, image, costs, technology and targets, and creation of synergy. Regarding types of collaboration outcomes, product/design was most important (55%), followed by promotion (21%), price (20%), and place (4%). This result shows that collaboration plays an important role in giving life to products and designs, particularly in the fashion industry which seeks for creative and newness. To be successful in collaboration efforts, results of the depth interviews in this study confirm that fashion companies should have a clear objective on why they are doing the collaboration. After setting the objective, they should select collaboratees that match their brand image and target market, make quality co-products that have definite concepts and differentiating factors, and also pay attention to increasing brand awareness. Based on depth interviews with customers, customer benefits were categorized into six factors: pursuit for individual character; pursuit for brand; pursuit for scarcity; pursuit for fashion; pursuit for economic efficiency; and pursuit for sociality. Customers also placed more importance on image, reputation, and trust of brands regarding the cases shown in the interviews. They also commented that strong branding should come first before other marketing strategies. However, success factors recognized by experts and customers in this study showed different results by subcategories. Thus, target customers and target market should be studied from various dimensions to develop appropriate strategies for successful collaboration.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.11-22
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• 2017

A plaza represents the identity of a city, and that reveals a plaza's importance. Gwanghwamun Plaza and Seoul Plaza are two representative plazas where the citizens can freely express their opinions. Many major plazas in the center of Seoul were built under the Japanese occupation. Among these, the plaza of Joseon Bank has different characteristics than Gwanghwamun Plaza and Seoul Plaza. Even though this plaza was built in the center of the commercial, administrational, and cultural district during the Japanese colonial period, the research on this plaza has been limited. This study was conducted to verify the features of this plaza by analyzing its construction and transformation during the Japanese colonial period. The study's results outline how the plaza was constructed by the Japanese administration. The intention of the government is shown by the fact that it purchased land parcels and held a design competition. In the 1910s, the government purchased seven parcels of land during the expansion of roads as the place for the plaza. During the late 1930s, the government accepted a traffic circle to regulate the traffic and eliminate the conflict between crossing movements. In 1939, a fountain was built in the plaza's center, and its design was selected through a design competition. It was planned as a square, but gradually turned into a rotary. Furthermore, the plaza was a landmark and symbol of the power and modernity of Japan. As the main modal point of public transportation, the plaza became surrounded with largescale Western-style buildings, commercial advertising, and neon signs. The plaza became a place where people could experience the modern city. These spectacular displays showed that Japanese imperialism was perceived as a strange and peculiar landscape to the majority of Korean citizens. This study investigates the history and characteristics of the plaza, focusing on its beginning as well as the transformation of its form. As to the limitations of the study, it does not consider political and economic contexts within the transformation of Seoul and in relation to this plaza. Instead, that research remains for a future study.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• Journal of Dental Rehabilitation and Applied Science
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• v.40 no.2
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• pp.72-81
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• 2024

Purpose: This study aimed to assess the marginal and internal fit of 3-unit monolithic zirconia fixed partial dentures (FPDs) fabricated via computer-aided design and computer-aided manufacturing (CAD/CAM) from solid working casts and removable die system. Materials and Methods: The tooth preparation protocol for a zirconia crown was executed on the mandibular right first premolar and mandibular right first molar, with the creation of a reference cast featuring an absent mandibular right second premolar. The reference cast was duplicated using polyvinyl siloxane impression, from which 20 working casts were fabricated following typical dental laboratory procedures. For comparative analysis, 10 FPDs were produced from a removable die system (RD group) and the remaining 10 FPDs from the solid working casts (S group). The casts were digitized using a dental desktop scanner to establish virtual casts and design the FPDs using CAD. The definitive 3-unit monolithic zirconia FPDs were fabricated via a CAM milling process. The seated FPDs on the reference cast underwent digital evaluation for marginal and internal fit. The Mann-Whitney U test was applied for statistical comparison between the two groups (α = 0.05). Results: The RD group showed significantly higher discrepancies in fit for both premolars and molars compared to the S group (P < 0.05), particularly in terms of marginal and occlusal gaps. Color mapping also highlighted more significant deviations in the RD group, especially in the marginal and occlusal regions. Conclusion: The study found that the discrepancies in marginal and occlusal fits of 3-unit monolithic zirconia FPDs were primarily associated with those fabricated using the removable die system. This indicates the significant impact of the fabrication method on the accuracy of FPDs.

• Korean Journal of Environment and Ecology
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• v.25 no.1
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• pp.57-64
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• 2011

A field survey was conducted from June 2005 to September 2007 to explore changes of the vegetation and life form in the man-made Wetland along the Sinpyeongcheon for 3 years after its creation. A total of 20 species including 14 families, 18 genera, 15 species and 5 varieties were planted in the Wetland which was completed in 2004. Divided by life form of the planted species, a prevalent 65% of them was composed of perennation while 4 species of woody plants i.e. Fraxinus rhynchophylla, Salix glandulosa, Camellia japonica and Nandina domestica were planted there, too. The 3-year study revealed that hydatophytes (HH) scored the biggest increase in number, followed by slight increase in the number of microphanerophytes (M), megaphanerophytes (MM), chamaephytes (Ch), nanophanerophytes (N), perennial plants (H), etc., featuring generally a similar tendency for the whole period of study. The change in vegetation area increases in the area of Typha angustata, Phragmites japonica, Phragmites communis, etc. but a sharp decrease in the area of communities for other planted species. In terms of change in the area for planted species by their life form, hydatophytes (HH), HH Th (Th(w)) reported gradual increase while microphanerophytes (M), geophyte (G), and nanophanerophytes (N) continued to record a decrease. In conclusion, selection of plants to be planted turns out to play a vital role in molding the destiny of a man-made Wetland. It seems therefore extremely important to investigate the flora, and life and growth forms of the plants planted in the man-made Wetland in an effort to choose the species that can adapt themselves to the environment from the early phase on, contributing by thus to stabilization and diversification of the damp ground in line with the progression of their succession.

• 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.