• Korean Architects
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• no.1 s.62
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• pp.60-68
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• 1974

• Korean Architects
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• no.2 s.73
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• pp.48-50
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• 1975

• Korean Architects
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• no.3 s.74
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• pp.48-50
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• 1975

• Korean Architects
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• no.6 s.77
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• pp.50-53
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• 1975

• Korea Information Processing Society Review
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• v.3 no.3
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• pp.108-111
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• 1996

• Journal of Environmental Impact Assessment
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• v.32 no.3
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• pp.187-194
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• 2023

This study identified how users of Gwanghwamun Square perceive the space and derived the spatial attributes of Gwanghwamun Square. There are four spatial attributes of Gwanghwamun Square: preservation of the historical environment, beauty of the surrounding landscape, suitability as a resting place, and activation of recreation. The first attribute, preservation of the historical environment, refers to the spaces that reflect the unique characteristics of Gwanghwamun Square and resonate with culture, including the Blue House, Bukaksan Mountain, Gyeongbok Palace, Yukjo Street, King Sejong, and Yi Sun-sin. The second attribute, beauty of the surrounding landscape, is related to the provision of abundant greenery and natural environment without disturbing the surrounding landscape, and includes landscape, sky, and greenery. The third attribute, suitability as a resting place, refers to various landscape facilities and services to enhance visitor comfort, including tables, chairs, shade, planters, rest areas, and fountains. Finally, recreational activation. This is the provision of various experiences, including exhibitions, performances, experiences, and sightseeing. Utilizing the attributes of Gwanghwamun Plaza derived from this study, it will provide important implications for the reconstruction of Gwanghwamun Plaza if future studies on valuation and estimation of Gwanghwamun Plaza are conducted to verify the differences in preferences by type.

• Korean Architects
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• s.599
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• pp.88-91
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• 2019

• KLA journal
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• v.45 no.9 s.352
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• pp.40-44
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• 2004

우리 협회는 최근 서울문화재단, 서울시공공도서관협의회와 공동으로 '책 읽는 서울-기초 예술 책부터 시작이다'라는 주제로 독서 운동을 시작했다. 이 운동은 서울문화재단의 제의로 논의가 시작되었으며, 지난 9월 4일 서울시청 광장에서 개막식을 갖고 본격적으로 시작되었다. 이에 이번 호는 30년 넘게 연극 배우로, 대학 교수로, 극단 대표로 활동해오다, 지난 5월부터 새로 출범한 서울문화재단을 책임지고 있는 유인촌 대표를 남산에 위치한 재단 사무실에서 만났다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.287-288
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• 2019

본 논문에서는 서울 열린 데이터광장에서 제공하는 오픈 API를 사용하여 지하철의 편의정보를 제공하는 어플리케이션을 구현한다. 기존의 지하철 어플리케이션의 불편함을 해소하기 위해 지하철 편의 시설 정보를 중심으로 제공하는 어플리케이션을 제안한다. 제안한 어플리케이션은 편의시설 중심으로 제공하여 사용자가 긴급할 때 화장실을 포함한 편의시설을 기존 어플리케이션 보다 신속하게 찾을 수 있는 것을 목적으로 한다.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.