• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• The Korean Journal of Archival Studies
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• no.59
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• pp.207-275
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• 2019

This archiving project of the survivors of suicide was done with the survivor supporting team of the Seoul Suicide Prevention Center. The survivor supporting team was operating a Self-help Support Group for the emotional support of the survivors of suicide. A Self-help Support Group is a place for the survivors of suicide to regularly meet and share their suffering by talking of topics hard to discuss elsewhere. As the Self-help Support Group progressed members who acted as the leader of the group appeared. They formed an essay group that writes together. Two fathers who lost their sons, two mothers who lost their daughters, a mother who lost her son, a wife who lost his husband. The essay group met each week in a place facing Sajik Park. Through the windows that took up the whole side of the room, evening was coming in. The things that happened during the day went away towards Inwang mountain following the setting sun. Ten people (six members of the essay group, three from the survivor support team, a historian for unique conversation) sat around a table, facing each other. "Now, what shall we do?" History for unique conversation is a time that archives life by sharing conversations. At times a complete stranger, and other times people who share their ordinary lives sit around together (3-9 people, sometimes about 15). On the table there is coffee, bread, fruits and salads, and sometimes a dish someone heartily prepared. When a bottle of wine is placed on the table, each takes a glass. Morning, afternoon, the time the evening is welcomed in, late night. It does not matter which. For six months, 3 hours when meeting every week, 6 hours when at every other week. A room where the ambience is like that of a kitchen where sunlight enters, or a cozy living room is the best location. However, there are many times when it is held in a multipurpose room in the suburbs where many meetings are held, or in a classroom of a school. The meeting place is decided according to different situations of the time. There are no participation requirements as it is said to be for themselves to write down according to archiving form while looking back their lives thoroughly, and they are the only ones to stop themselves. The archives landscape from far away would seem like trying to do some talking. However, when going into a microscopic situation one must leave themselves to the emotional dynamics. It is because it archives the frustration and failures one experienced through life. A participator of history for unique conversation must face the sufferings of their life. The archiving project took place in 2013 to 2014. Many years have passed. Has the objective distance for archiving the situation of that time been secured? That may be uncertain, but I will speak of a few stray thoughts on archiving while depicting the process and method of operation.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.268-289
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• 2013

The Dinosaur tracksite at Jeori, Geumseongmyeon, Euiseonggun, Gyeongsangbukdo, Korea (National Monument No. 373) has been studied in the aspects of location, stratigraphy, sedimentology, fossil occurrence, unique geological records, literature, significance in natural history, preservation, and management. On the basis of these features, the Jeori tracksite has been assessed semiquantitavely. The Jeori tracksite occurs in the Sagok Formation (Albian) of the Euiseong sub-basin, and over 300 footprints forming 12 sauropod trackways, 10 ornithopod trackways, and 1 theropod trackways are preserved in this tracksite. The track-bearing deposits consist of tabular-bedded medium- to fine-grained arkose with mudstone drape, interlaminated fine-grained sandstone to siltstone and mudstone, and shaly mudstone. The dinosaur tracks are preserved in the interlaminated fine-grained sandstone to siltstone and mudstone, and most of them are observed as underprints. The track-bearing deposits are interpreted as sheetflood deposits on the floodplain under a seasonal paleoclimatic condition with alternating of wetting and drying periods. Multiple tension fractures with NE strike were formed in the track-bearing bed, which resulted in that tracks seem to occur in several horizons. The significance in natural history of the tracksite can be summarized as follows: 1) the historical implication of the Jeori tracksite as the firstly designated National Monument of dinosaur fossil sites, 2) the high density of the occurrence of diverse footprints (over 300) within small area (about $1,600m^2$), and 3) the significance of the tension fractures associated with the track-bearing bed as geoeducational records for the understanding the development of fault. In order to share the value of the Jeori tracksite in the aspect of natural history with the community and public, the interpretive panel should be modified to include figures explaining paleoenvironment and tension fault development. In addition it is recommended that a brochure be published briefly explaining the tracksite and to educate the residents about the natural and social significance of the tracksite. For the safety of visitors it would be desirable for the road in front of the tracksite to be moved at least 10 m southward, which could mitigate the shaking of the track bed caused by traffic.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.125-137
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• 2021

How can we explain the phenomenon of small, old alleyways in the city becoming rising commercial places attracting people from an aesthetic perspective? This research discusses distinctive aesthetic experiences of urban commercial alleyways, which are located on inner roads and consist of small-scale stores and explore the specific aspects of Sharosu-gil, located in Gwanak-gu, Seoul. The aesthetic experience of urban commercial alleyways is generated by the contrast with the refined urban fabric along main roads in terms of space, the gap between the old and the new, and the antagonism between the known and the less known. The approach to Sharosu-gil consists of the high-rise buildings along the main road built in the 2000s, then encountering low-rise buildings on inside roads built from the late 1970s to the present. Therefore, it is judged that the site has sufficient conditions to generate the aesthetic experience as an urban commercial alleyway. As a result of analyzing the street improvement projects, first, the official announcement of the name 'Sharosu-gil' was interpreted as an escape from the place specificity and garnered the acquisition of the characteristics of an alternative. Secondly, the improvement project for old-established signboards was interpreted as harmony between the new and the old and the loss of temporality. Thirdly, in the pedestrian priority road project, the pavement was interpreted as a reinforcement of the identity as an alleyway and the visualization of the area. Since the reality of urban commercial alleyways depends on the user's visiting, it is necessary to interpret alleyways from the perspective of the senses and aesthetics, not just from social phenomena or capital logic perspective. The study will cast implications for relevant schemes and data-driven research.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.1
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• pp.17-33
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• 2024

This study suggests management planning of Bonguisan Neighborhood Park located on the central of Chuncheon city and highly used for citizen's rest and leisure space utilizing its vegetation structure feature. Bonguisan has been the central of the chuncheon since the period of the Three states in Korean history and consistently damaged, especially in present era, an isolation and sererance of its ecosystem has deepen for indiscreet urban development. The percentage of actual vegetation of Boinguisan Neighborhood Park is as follows: Quercus mongolica is 28.5%, Quercus mongolica - Quercus serrata is 2.1%, Pinus densiflora is 15.6%, Pinus densiflora - Quercus mongolica is 15.9%, Betula schmidtii is 1.6%, Robinia pseudoacacia is 5.9%, Pinus koraiensis is 1.6%. Quercus mongolica is distributed on the southwest, northwest, southeast side of region, Pinus densiflora is distributed on the ridge of east and southeast side of region, Betula schmidtii is distributed on the valley of northeast side region and steep slope region which is on the north side of chungwonsa temple. Pinus densiflora community (Comm. I) and Quercus acutissima - Robinia pseudoacacia community (Comm. V) is expected to undergo succession since it's categorized as Quercus spp. and Quercus mongolica community (Comm. II) and Quercus serrata-Quercus mongolica community (Comm. III), Betula schmidtii community (Comm. IV), Pinus koraiensis community (Comm. VI) is expected to maintain. Also for target vegetation and management planning, Vegetation of Bonguisan Neighborhood Park is classified as 1st Natural landscape conservation and improvement type, 2nd Ecological succession type, 3rd Unusual community conservation type, and 4th Recreation and experience type. And we suggested ecological management measure about each management types. For efficient management of Bonguisan Neighborhood Park, it is need to unify management system of it and after designating Pinus densiflora community and Betula schmidtii community which has high ecological preservation value as an ecological landscape protected area and manage it.