• Journal of the Korean Institute of Landscape Architecture
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• 제41권1호
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• pp.21-33
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• 2013

The purpose of this study is to find applicabilities of human bioclimatic maps, using human thermal sensation(comfort) in summer, with microclimatic in situ data and computer simulation results at the study site of downtown Daegu. This includes the central business district(CBD) area and two urban parks, the Debt Redemption Movement Memorial Park and the 2.28 Park, for urban and landscape planning and design. Climatic data and urban setting information for the analysis of human thermal sensation were obtained from in situ measurement and the geographic information system data. As a result, the CBD had higher air temperature than the parks when the wind speed was low. Relative humidities were opposite to the air temperature. Especially, same directional streets with local wind direction had lower air temperature than streets perpendicular to the wind direction. The most important climatic variable of human thermal sensation in summer was direct beam solar radiation. Also, creating shadow areas would be the most relevant method for modifying hot thermal environments in urban areas. The most effective method of creating shadow patterns was making a tree shadow over a pergola, and the second best one was making a tree shadow on the front of north directional building walls. Moreover, how to plant trees for creating shadow patterns was important as well as what kind of trees should be planted. The results of human thermal sensation were warm to very hot at sunny areas and neutral to warm at shaded ones. At the sunny areas, wide, squared shape areas had a little bit higher thermal sensation than those of narrow streets. The albedo change of building walls 0.15 and ground surface 0.1 could change 1/6 of a sensation level at the shaded areas and 1/3 at the sunny ones. These microclimatic approaches will be useful to find appropriate methods for modifying thermal environments in urban areas.

• Archives of design research
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• 제19권2호
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• pp.261-272
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• 2006

As we cannot think of our lives without a nation, it is closely related to almost every part of our daily lives. The role of government is becoming more important in the complex modern society as an essential element of national authority even though the government has indirect and secondary characteristics in its functional performance. Therefore, the government has to be efficient in planning and executing its policies, and it needs to be representative and fair as part of a national authoritative community. In the 21st century when symbolic and cultural importance of images are becoming more important, it is crucial for the government organizations to have an integrated identity design system that can satisfy both of these requirements of the government. However, the C.I.(Corporate Identity) of each Korean administrative branch has been developed separately and sporadically, which resulted in lack of consistency as part of the government. Shape and material of their C.I.s that follow short term design trend and popularity also lack uniqueness which can be distinguished from those of any private corporation. This may show that our government lacks systematic administrative capability, since image of a feature represents its characteristics and reality, and their recognition and evaluation from others become identity of the feature. In this perspective, the purpose of this thesis is to suggest an identity design system that has certain rules and regularity with wide variety of possible alterations for the central administration in Korea. In order to represent this visually, identity design system with both integrity and variety of possible alteration is created based on traditional Korean culture, especially the concept of Umyang-ohaeng and Samjae.

• Archives of design research
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• 제19권2호
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• pp.53-62
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• 2006

E-mail has indeed developed from 'a means of instant communication' to an indispensable part of online marketing. Therefore, companies need to implement consistent customer management. Communication with customers and marketing through e-mail is a powerful way of communication and adapting one-to-one marketing strategies to customer trends, habits and taste preferences. Since setting accurate targets is especially important in the fashion industry, e-mail marketing is the most effective way to communicate with customers and one-to-one marketing constitutes a very important strategy. In this study, I will analyze this powerful one-on-one marketing tool, particularly actual e-mail messages sent by an Internet Shopping Mall from June 12 to July 30, 2005, examine the effect of these messages on sales growth and analyze actual feedback received. Regarding e-mail read rates broken down by age and gender, 1 found that females in their late twenties recorded the highest rate at 21.66% and their contribution to sales growth was recorded at 3.5% From actual sales records, found that 28.10% of total sales were attributable to people in their late twenties, showing that the age group that reads e-mails the most also buys the most. Regarding feedback by e-mail title, e-mails from the 'Casual' category seemed to be the most effective, in that most of these e-mails were read. Also, messages sent on Tuesdays were read the most, according to the feedback analysis by weekday. Section e-mails were read more often than regular e-mails. Regarding the view rate according to the time e-mails were sent, messages sent to females in their late twenties at two o'clock in the afternoon were read by 20.93% of recipients, recording the highest read rate. By offering informative content and practical tips, visitors will be attracted to the site and generate site traffic. Therefore, we can conclude that sending e-mail messages can greatly contribute to sales growth and e-mail marketing is very effective. Also, in order to make e-mail campaigns more effective and improve marketing results, we need to analyze actual results and apply our findings in future e-mail campaigns. With this, we get successful marketing results.

• Korean Journal of Heritage: History & Science
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• 제47권1호
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제29권1호
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• 제23권4호
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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.

• Journal of the Korean Institute of Landscape Architecture
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• 제44권6호
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• pp.98-106
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• 2016

This paper has attempted to reexamine current international circumstance and the meaning of regionality and discover the practical design strategy in the process of observing the trend of contemporary landscape architecture from the perspective of regionality. Contemporary landscape architecture has started to discover possibility in the local value and create identity. This tendency can be classified as follows: First, regionality is re-examined as a medium which can integrate nature, culture and city. As a concept which contains time and spatial continuity, landscape is a matter of the identity of land and area. Second, regionality has been reinterpreted and recreated by designers. Landscape designers attempt to restore the past memories and traces instead of adding a new concept after erasing previous physical features. This design attitude has spatialized time continuity. Third, site is seen as a palimpsest, not tabula rasa in contemporary landscape architecture. It has been attempted to visually materialize the natural and ecological processes and spatial features. Fourth, site is approached in a tectonic approach instead of analytical approach. It is attempted to organize and restore the geological and archeological memories and ecological processes. Differentiation has emerged as a critical design strategy in contemporary landscape architecture. However, regionality is also formed through an interaction with continuity as well as through differentiation. In this sense, the following possibilities can be reviewed as practical design strategies to realize regionality: First, a terra-tectonic approach discovers and selects possibility in the site and expresses the site, creating practical possibility which strengthens regionality. If the memory and conditions of the site are different, the identity would different as well. Second, continuity of region itself is a gene pool with comparative advantage. As a rough sketch of design, it acts as a loose conformity on designers' experience and practice. Of course, this approach is not absolute with some limitations. It is necessary to explore practical strategies.

• Journal of Korea Entertainment Industry Association
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• 제14권4호
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• Journal of the Korean Institute of Landscape Architecture
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• 제51권3호
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• pp.70-82
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• 2023

The recent surge of IT and data acquisition is shifting the paradigm in all aspects of life, and these advances are also affecting academic fields. Research topics and methods are being improved through academic exchange and connections. In particular, data-based research methods are employed in various academic fields, including landscape architecture, where continuous research is needed. Therefore, this study aims to investigate the possibility of developing a landscape preference evaluation and prediction model using machine learning, a branch of Artificial Intelligence, reflecting the current situation. To achieve the goal of this study, machine learning techniques were applied to the landscaping field to build a landscape preference evaluation and prediction model to verify the simulation accuracy of the model. For this, wind power facility landscape images, recently attracting attention as a renewable energy source, were selected as the research objects. For analysis, images of the wind power facility landscapes were collected using web crawling techniques, and an analysis dataset was built. Orange version 3.33, a program from the University of Ljubljana was used for machine learning analysis to derive a prediction model with excellent performance. IA model that integrates the evaluation criteria of machine learning and a separate model structure for the evaluation criteria were used to generate a model using kNN, SVM, Random Forest, Logistic Regression, and Neural Network algorithms suitable for machine learning classification models. The performance evaluation of the generated models was conducted to derive the most suitable prediction model. The prediction model derived in this study separately evaluates three evaluation criteria, including classification by type of landscape, classification by distance between landscape and target, and classification by preference, and then synthesizes and predicts results. As a result of the study, a prediction model with a high accuracy of 0.986 for the evaluation criterion according to the type of landscape, 0.973 for the evaluation criterion according to the distance, and 0.952 for the evaluation criterion according to the preference was developed, and it can be seen that the verification process through the evaluation of data prediction results exceeds the required performance value of the model. As an experimental attempt to investigate the possibility of developing a prediction model using machine learning in landscape-related research, this study was able to confirm the possibility of creating a high-performance prediction model by building a data set through the collection and refinement of image data and subsequently utilizing it in landscape-related research fields. Based on the results, implications, and limitations of this study, it is believed that it is possible to develop various types of landscape prediction models, including wind power facility natural, and cultural landscapes. Machine learning techniques can be more useful and valuable in the field of landscape architecture by exploring and applying research methods appropriate to the topic, reducing the time of data classification through the study of a model that classifies images according to landscape types or analyzing the importance of landscape planning factors through the analysis of landscape prediction factors using machine learning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제42권1호
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• pp.1-13
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• 2024

This study requires a strict distinction between the sculptures we call 'Jangseung' because their origins, history, or functions are different from each other. Therefore, a theoretical consideration was made through the origin and history of Jangseung. Currently, Jangseung is widely distributed throughout the country, but the Honam region shows the largest distribution, and 73 out of 167 locations nationwide remain in the Chungcheongnam-do region. Among these, there are 54 stone jangseungs in Jeollanam-do, 37 in Jeollabuk-do, and 19 in Jeollabuk-do. In particular, the original shape of the stone jangseungs in the Honam region is well preserved, and as a center of the agricultural economy, the jangseung culture is active in this region. It was popular, and many stone jangseungs were built in the Daejeon area amid social changes in the late Joseon Dynasty. However, in the South Chungcheong region, there is not much culture about stone jangseungs, but there is a village meaning and consciousness that stone jangseungs have, but it is true that research on stone jangseungs is insufficient in various aspects. Among them, the form of the stone jangseung built between the 17th and 19th centuries is a sculpture that contrasts with the wooden pillar-type jangseung that is common in the central region, and shows the simple mentality of the people of the Daejeon region without any embellishment. Through Jangseung, we were able to discover the unconscious and potential creativity of national aesthetic consciousness. Therefore, the purpose is to trace the change process of the stone jangseung in the Daejeon area, investigate the functional aspects of this structure, and based on this, examine the various current status and locational characteristics of the so-called stone jangseung. In addition, the wooden figures and stone statues that are now commonly known as Jangseung were each erected in different times and for different reasons. Centering around Daejeon, the study attempted to research and identify representative stone monuments or 'stone jangseungs' that appear as stone statues, and even suggest their form through locational characteristics and suggestions. As a result, traditional jangseungs have changed in various forms as times change, reaching their present form, and the religious elements of modern jangseungs made and erected today are weakened or disappeared, and are used as symbolic symbols or sculptures of tradition. Although it has lost its traditional function as an object of village faith, it functions as a milestone or sign at the entrance to a village or event site, or as an exhibition in special places. It was found that the modern jangseung is a representative symbol of Korean traditional culture and is being re-created as an artistic sculpture that expresses common, simple, natural beauty and humor. Therefore, through this study, based on more specific and systematic investigation and research on the jangseung, it was materialized into a more developed form considering its utilization plan to prevent miscellaneous spirits from entering the village through the currently existing stone jangseung and to improve the spatial space accordingly. It is believed that what is located at the entrance can greatly convey its meaning. Therefore, it is judged necessary to maintain the strong characteristics of folk religion without the sophistication of foreign religions for various deities.