• Journal of Digital Convergence
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• v.18 no.12
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• pp.183-193
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• 2020

This study attempts to interpret the causes of offshoring and reshoring, find out facilitating factors and the areas where these happen mainly. In viewpoint of self-organization phenomena, the theory of prospect, quantitative analysis is performed by utilizing actual data of American Reshoring Association. This study shows that offshoring to the U.S. is positively correlated with market power in the U.S. and innovation of investment countries, while reshoring to U.S. is positively correlated with market power in the U.S. not with technology innovation. The reshoring of U.S. companies is influencing offshoring to U.S, emerging countries such as Asia tends to focus offshoring in short catch up cycle area like IT. This study is expected to contribute to investment support policy and decision for optimal production site. Further study will complete the economic benefit assessment model by reinforcing the impact factors of reshoring and offshoring.

• Land and Housing Review
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• v.15 no.3
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• pp.129-140
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• 2024

This research explores the potential of purchased rental housing as a versatile solution for residential development. By focusing on smaller-scale construction compared to large residential complexes, purchased rental housing projects offer benefits such as shorter project durations and enhanced flexibility to accommodate residents' needs. This public-private collaboration extends to community planning, enabling tailored models beyond traditional rental housing frameworks. Currently, purchased rental housing, which is predominantly comprised of multi-unit house, multi-household house, and rowhouses, is in high demand and in short supply in metropolitan areas. Utilizing volumetric modular housing, considerations for module size and transportability are paramount, while advancements in construction methods, particularly prefabrication, offer efficiency and quality benefits. This study proposed three construction techniques to plan modular housing models and enhance construction and demolition efficiency: planning without columns in the middle of the unit, core production using volumetric modular construction methods, and industrialization of construction components alongside dry construction methods. Utilizing these methods, a new construction model for purchase lease housing was presented to address the need for new housing in the context of ageing housing renovation and demand fluctuations. The model comprises 16 units, with sizes ranging from 36 m² to 54 m², and can be applied on sites larger than 600 m² with access to roads wider than 6 m. This promotes cluster-style development, which in turn increases construction efficiency in nearby plots.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.56-77
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• 2010

The tortoise pedestal for the memorial monument of Choe Jin-rip(an army officer in the mid-Joseon Period) in Ijo-ri, Naenam-myeon, Gyeongju is known to have been made in 1740. As such, it was originally understood to be a Joseon imitation of a tortoise pedestal made in the Unified Silla Period. The style of the Ijori Tortoise Pedestal differs from other tortoise pedestals dating back to the same period, and bears no resemblance to the Unified Silla pedestals of which it is a copy. Mullu ilgi, a record of the production of the pedestal, explains that the monument was made before the pedestal. Traces show that the two sides of the bottom of the monument were cut off so that it would fit into the smaller space made on the pedestal. It is scarcely conceivable that they made the pedestal and the platform without considering the bottom size of the monument. The record only states that the monument was made at a temple site named Baegundae, without explaining the details of the production process. This leaves some doubt as to whether its production was undertaken systematically. The cloud patterns engraved on this pedestal look similar to the temporal seriation found on the Tortoise Pedestal of the Royal Tomb of King Muyeol and the Seoangni Tortoise Pedestal of Gyeongju. The lotus pattern decorating the square pedestal on the back of the tortoise is one of a number of patterns that were widely used on roof-tiles in the 8th century, the heyday of the Unified Silla Kingdom. The Ijori Tortoise Pedestal, which represents a tortoise moving forward, displays a liveliness the like of which is rarely found in its cousins remaining in Gyeongju. The layout of the patterns in a queue on the tortoise-shell looks much better schematized than those made at an earlier date. It also looks like a more developed form, with the use of space taken into account. Such factors as the style of the patterns, the incongruity between the monument and its pedestal, and what is stated in the historical record indicate that the Ijori Tortoise Pedestal of Gyeongju was made in the mid-8th century(i.e. during the Unified Silla Period), rather than in the Joseon Period(i.e. the 18th century), as an imitation of earlier ones, including changes in the style unique to the Silla Period.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.7
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• pp.554-564
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• 2017

The purpose of this study is to assist farmers in determining the optimal time for the shipment of stored apples by investigating the market trends, storage status and release dates of low-temperature stored apples. We surveyed 300 apple cultivation farms in Daegu, Gyeongbuk Province, which is the main producer of apples, and examined the cultivars, cultivation areas, storage conditions, and shipment status of apples. The main results are as follows: the proportion of apples cultivatedat different ripening times was surveyed. According to the results, the proportions of early, middle and late varieties were 78.3%, 63.7% and 96.0%, respectively. Also, 48.7% of the farm households surveyed had cold storage facilities. The average storage cost per apple box(15kg) was 978.3 won for self-storage and 1,771.8 won for consignment storage. For the six(6) months between November and April, the proportion of shipped apples was 91.6% of the total stored apples. The (average total?)annual apple shipment, including apples stored in general storage warehouses, was 744.4 boxes. The (average total?) annual shipment of cold storage apples was 616 boxes. The stored apples were mainly shipped to 'wholesale markets', which have the highest sales share, followed by 'production site collectors' and then 'supermarkets'. The most common shipping method of the apples was by general trucks, followed by low-temperature trucks, and finally by delivery services. The analysis of the factors influencing the decision to release apples by period showed that it was affected by the storage cost, loss rate, and customary shipping in the off-season(from May to August). On the other hand, in the general release season(from November to April), the statistically significant decision factors for the release of apples were the future expected price, storage cost and decision of the leading farmer groups. For farmers with a high share of general shipment, the deciding factors for the release of apples were the future expected price, storage cost, high income expectation, and decision by leading farmers.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.142-153
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• 2011

'Silla Monument Stone in Jungseong-ri, Pohang' was discovered in Pohang City, Gyeongsangbuk Province of Korea in 2009. The monument stone with irregular shape has dimensions of maximum height of 105cm, width of 47.6~49.6cm, thickness of 13.8~14.7cm and weight of 115kg. The results of monument stone was found to be granitite. Conservation treatment procedure was carried out in the order of production of Weathering map, cleaning of surface pollutants, consolidation using ethyl silicate. Black pollutant(crust) that covered more than 60% of the surface was analyzed first in order to remove the pollutants on the surface of the monumental stone by cleaning of surface pollutants using laser. The purpose on analysis was not only to verify the pollutants on the stone but also to carry out preliminary cleaning by securing rocks with same pollutant as the monumental stone. As the results of analysis using p-XRF(PMI. INNOV-X, USA) on the site, high level of Mn and Fe were detected, and the analysis of small section that had been fallen off with SEM/EDX for the purpose of quantitative analysis also detected high level of Mn. The Similar contaminants on Stone secured in the manner described above were made into 10 samples ($5cm{\times}5cm$) and was subjected to preliminary cleaning by Nd-YAG Laser(Laser&Physics, Korea). The results of surface observation through portable microscope during cleaning revealed that the power of 460mJ, wavelength of 1064nm and irradiation frequency of 1,800~2,300 per $25cm^2$ were most effective. Evaluation on the preservative treatment was made through confirmation of the extent of removal through color-difference meter measurement and component analysis prior to and following removal of the pollutants. As the result of color-difference meter measurement increase in the brightness was evidenced by the increase in the brightness ($L^*$)value from 33 to 49, and it was possible to ascertain the reduction in the pollutants as the content of Mn was reduced by about 80% from $50,000{\pm}5,000ppm$ to $10,000{\pm}2,000pmm$ from the result of component analysis.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.