• Korean Architects
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• no.8 s.352
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• pp.57-57
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• 1998

오늘날의 수원은 도청소재지로서, 서울의 인접도시로서, 수도권의 주요도시로서 다양한 가치를 가지고 존재하고 있다. 이 땅의 어느 곳에나 먼 옛날부터 여러가지 사연들을 가지고 사람들이 살아왔겠지만, 수원은 200년전 어떠한 사연으로 여기에 사람들이 모여 살게 되었고, 도시의 구조는 어떻게 구성되었으며, 오늘까지 어떻게 지내왔는가 하는 것이 다른 도시보다 정확하게 기록되어 있는 드문 도시로서 그 탄생과 성장의 역사를 후손들이 들추어 볼 수 있어, 많은 사람들의 관심을 끌어 왔다. 더구나 1997년에는 유네스코 인류문화유산으로 수원의 화성이 등록되면서 다시 성곽이라는 물리적 요소와 200년이라는 세월 속에 이루어진 공간과 역사는 이 도시의 존재가치와 앞으로 걸어가야 할 길을 진지하게 모색하도록 하였다. 조선조말에 접어들면서 이 땅에서 우리 나름대로 근대의 싹이 돋아 나오던 시절, 새로운 바람이 지식인들과 통치자들 사이에 일어, 수원에 계획도시를 건설하였다. 새로운 사회와 체제를 시도하고 이에 대한 도전을 찬찬히 진행하면서 이 도시의 형상을 갖추어 갔다. 중앙으로부터 시작된 개혁과 변화는 큰 힘을 얻지 못하였고 정조 이후의 수원은 서울과 지방을 잇는 통과도시로서만 역할을 하였다. 근대화하는 과정에서는 농업기술개발의 중심지로서, 산업화 과정에서는 섬유ㆍ전자산업의 본산으로서 도시의 세를 넓혀 나갔다. 최근 들어 우리들의 삶이 문화에 눈을 돌릴 정도로 성숙해져서 이 고장의 정체성에 대해 논하고 많은 사람들이 찾아내려는 노력을 하고 있다. 일상생활과 상관없던 시민들이 생각하고, 새로 맞는 또한 세기에는 화성과 맞먹는 이 시대의 수원다움을 만들어 나가야 하는 것이 이 시대를 사는 사람들의 과제일 것이다. 숱한 과제가 건축사들에게 주어져 있지만 언제나 힘겨운 것이었고 시원한 답을 만들지 못하였다. 그만큼 우리는 눈을 늦게 떴고, 그러는 사이에 도시는 풀어내기 어려운 상태로 변화되어 갔다. '건축사'의 기획 시리즈 수원편을 통하여 지나온 과거를 정리하고 현재의 모습을 살펴보고, 이제부터 우리가 해야 할 일들에 대하여 생각해 보았다.

• Korean journal of communication and information
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• v.18
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• pp.37-61
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• 2002

The mobile phone is a medium of mobility in the sense that it makes possible anytime, anywhere communications. It is also a medium of privatism as it opens for the users an exclusive communication space that marks private territoriality. These two characteristics associated with the mobile phone are usually interpreted as part of its technical properties and convenience it provides to the users. But mobility is offered not just for the sake of mobility, nor privatism is for the sake of privatism. There are certain social and political economic conditions that enhance and even force us to be mobile and private. The mobile phone symbolizes this kind of world order in which mobility and privatism condition our social life-world.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.62-73
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• 1996

본 연구는 환경예술운동의 선구자격이며 가장 대표적인 작가로 평가되는 로버트 스미슨의 작품에 대한 연구를 통해 그의 경관미학의 개념화에 대하여 고찰해 보고자 하였으며 궁극적으로 본 연구가 환경예술운동이 현대 조경설계에 미친 영향에 대한 기초 연구라는데 본 논문의 의의를 찾고자 한다. 스미슨의 작품이 조경에서 다루는 경관의 여러 가지 관점을 다루었으며, la국을 중심으로 조경설계에서 공간의 시각적 표현을 시도한 몇몇 조경설계가의 작품배경 또한 환경예술로 불리어지는 일련의 작품군과 작가의 주장에 많은 영향을 받았음에도 불구하고 그의 작품이 조경분야에서 연구의 대상으로 활발하게 다루어지지 못한 것도 사실이다. 본 연구에서는 스미슨의 경관미학의 개념화를 그의 작품을 통해 살펴보았으며, 스미슨의 작품과 조경설계와의 연관성, 그리고 현대 조경설계에 미친 스미슨의 공헌등을 조명해 보았다. 스미슨의 초기작품들은 개발로 인한 환경 및 경관의 남용 혹은 황폐화에 대한 비평적인 관점을 예술적 형태로 묘사한 반면, 후기 작품들에서는 환경 및 경관에 대한 예술적인 조작에 긍정적인 가치를 부여하고자 한 것이었다. 스미슨의 작품이 현대 조경에 미친 가장 큰 공헌은 무엇보다도 경관 및 환경의 변화에 영향을 미치는 수단으로서 예술을 활용했다는 것일 것이다. 환경예술가들의 주장과 그들의 작품이 현대 조경설계에 구체적으로 어떻게 형상화되었는지에 대한 연구는 앞으로 규명되어야 할 부분이라고 판단된다.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.133-140
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• 2018

This study is change of the street space of the port city of Yokohama and the transformation process of the canal. modern port city Yokohama is a region that was responsible for the development of East-West maritime transport routes in Japan in the 17th century and the inland transportation through fishing villages and ports. it has also grown rapidly as a regional port and new port. In particular, through the revitalization of trade between foreign settlements and Japanese residents in the port area, the existing fishing area became a modern port city space. Yokohama went through the following process and grew into a modern port city. The construction of the port harbor and the maintenance of existing logistics functions, the formation of the central horizontal axis through maintenance of the fishing village, the construction of the logistics movement route to the inland area through the construction of the canal, the expansion of the horizon for fire prevention and fire restoration, The formation of a new settlement space according to the movement, the transformation of the existing religious axis by the combination of the elaboration and the introduction of modern transportation, and the spatial connection between the inland cities.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.127-136
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• 2019

National Housing in Janghang was built intensively from the mid 1970s to the early 1980s, and has become a collective complex at Jangma-ro and Shinchangdong-ro. This Company House is a typical building for employee welfare, at the same time shows modern industrialization and urbanization. In general, it forms a housing complex and serves as industrial town. Reflecting the characteristics of Janghang, the housing complex is called National House based on the supply method and is also classified French Styled House in terms of housing style. Although Janghang was one of small local administrative units, it pursued urban style with mini-2-story. It has the typical characteristics as follows: division of the owner's living space and rental room, and independent layout of restrooms and washrooms. House is transformed to accommodate residents' lifestyles, so National Housing Complex of Janghang has undergone various changes such as the replacement of spatial structures and exterior materials for 40 years after construction. National Housing in Janghang is a symbol of local identity and an important spatial asset that shows the urban and architectural characteristics and changes.

• Journal of architectural history
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• v.29 no.6
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• pp.41-56
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• 2020

This study attempted to clarify the modern transition process of the urban space through the construction and change of the Imperial Palace as a central facility in Seoul. The road renovation of Seoul, which started in 1895, has established a modern, circular transportation system centered on Gyeongun-gung Palace, the Imperial Palace along with the tram line. In this urban structure, the imperial palace as a central facility of the former monarchy, unlike the previous palaces, could not be located at the top of a road with a longitudinal axis, and it expanded its territory around foreign legionaries and placed a new government office around the perimeter. However, the royal palace was moved to Changdeokgung Palace in 1907 with the throne of Sunjong. With the creation of Changdeokgung, which is the periphery of Seoul, as new royal palace, the status of the imperial palace in the city was remarkably weakened, and Gyeongun-gung, located in the center of Seoul, was also reduced to the current Deoksugung area, turning into an urban facility facing a modern street.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Korean journal of communication and information
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• v.51
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• pp.26-46
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• 2010

This study interprets Cheong-gye-cheon restoration as a process of space production during expansion of capitalism, and performs discourse analysis in order to find out that how media discourse has been related to the production of Cheong-gye-cheon space in each period of historical changes. This paper is particularly concentrating on discovering regulation in discourse which connects people's experiences and perception towards certain ways in the relationship between newly producted space and media discourse. This paper construes the period of 1960s as a process which pre-modern bodies and facilities were changed into modern and urban 'daily life' by practicing a space which splitted in a concept of time efficiency. In 1980s, media represented the facilities which had been constructed at the Cheong-gye-cheon space as a 'disqualified facilities for a center of the city'. This is because, tertiary industries were emerged at the 'Gang-nam' in this period which widen the gap of finance between 'Gang-nam' and 'Gang-Buk'. The government wanted to redevelop this space in order to function accumulating capital efficiently. Therefore shop owners nearby Cheong-gye-cheon were forced to move out. The discourse, 'disqualified facilities for a center of the city', implicates this process. The media discourse in the 2000s produced the 'myth' through the 'signifier' such as artificially flowing water, fine scenery, historical but artificial structure and etc.. However, people can experience symbols of the artificial structures which leads people to the luxurious restaurants, coffee shops, and etc.. Naturally, the spectacles produced by media direct people to the homogeneous pattern of consume. This phenomena can be explained as a process which people practice, intentionally or non-intentionally, the capitalistic mode of production which changed from a period of production to a period of consumption.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.15-31
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• 2022

This study interpreted the logical validity of the landscape restoration and maintenance patterns of Changgyeonggung Palace, where modern landscapes coexist. The results of the study are as follows; First, the changes in the landscape restoration and maintenance attitude concerning the Changgyeonggung management organization were identified. With the establishment of the Office of the Imperial Garden, an imperial property was nationalized. The Cultural Heritage Managing Department was opened in 1961, and Changgyeonggung Palace were preserved as designated as historical sites in 1963. An environmental purification was implemented by the Changgyeonggung Office as a follow-up measure for restoration in 1983. As the Cultural Heritage Administration promoted in 1999 and the Royal Palaces and Tombs Center was established in 2019, the palace has been managed professionally as a palace landscape to provide a viewing environment. Second, In the 'Purification Period of Changgyeongwon(1954~1977)', environmental purification was carried out to restore amusement facilities, install facilities for cherry blossom viewing, and develop the place into a national zoo. In the 'Reconstruction Period of Changgyeonggung(1983~1986)', restoring function as an urban park, reserving green areas, the outside space was recreated in the traditional feel, and the forest area was generally maintained. In the 'Supplementation Period of Traditional Landscape Architecture Space(1987~2009)', a uniform green landscape was created with pine trees and various vegetation landscapes centered on the flower beds. In the 'Improvement and Maintenance Period of Viewing Environment(2010~2022), a master plan was reestablished on the premise of utilization, but maintenance has been carried out in a small scale centering on unit space. Third, regarding the validity of the landscape restoration and maintenance, It was found in terms of 'originality' that the recovery of the palace system has not been expanded for over 40 years in existing areas. The 'characteristics of the times', which shows whether multi-layered history was taken into account, Changgyeongwon was excluded from the discussion in the process of setting the base year twice. In terms of 'integrity,' the area of the Grand Greenhouse where the historic states coexists needs a maintenance policy that binds the greenhouse, carpet flower bed, and Chundangji Pond. The 'utility' identified as the utilization of spaces suggests the establishment of a sense of place in the Grand Greenhouse area, which is concentrated with programs different from other areas.