• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.3
• /
• pp.38-44
• /
• 2013

Karl Foerster had the most significant influence on the establishment of the German garden culture. From the viewpoint of planting design, in particular, he greatly contributed to the selection of new materials and the distribution of gardens. Therefore it is worth re-exploring his garden in that he triggered the use of natural planting that is widely used these days and already used ornamental grasses in his garden designs. This study aimed to review Foerster's garden to understand his planting design methods and their historical significance. The results suggest: Firstly, in spatial structure he designed sunken gardens influenced by the climate and triggered the use of natural planting by applying naturally open meadow, ferns and grasses. Secondly, in terms of the use of materials, he pointed out the necessity to use perennial plants. He bred perennial plants that the general public could easily grow and that were resistant against cold and created show gardens to demonstrate the characteristics of the plants and possible combination methods to the public. Thirdly, in terms of the aesthetical principles of his planting design, he focuses on colors and seasons and was interested in blue, yellow and white colors. In doing so, he developed new varieties such as Delphinium, Rudbeckia and Phlox. He emphasized the necessity of seven seasons, which served as the ancestor of contemporary winter gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.4
• /
• pp.73-80
• /
• 2019

This is an empirical study to investigate the types of plants used in Gertrude Jekyll's wild gardens, identify relationships between plants, and analyze the planting patterns. Four sites were chosen for the study: the Cotswold Cottage, the Dryton Wood, the Little Aston, and the Frant Court. To find direct relationships between plants from the planting patterns shown in these gardens, the social network analysis program R was used to analyze degree centrality, which resulted in the identification of top three plants, followed by looking into their characteristics and meanings. The summary of the results is: Azaleas(Rhododendron spp.) showed the highest degree centrality, followed by wild roses (Rosa spp.). Cold-resistant crossbreed azaleas were used as underplanting connected to many different plants, creating the feeling of an atypical woodland garden. As an indigene, wild roses showed high degree centrality in terms of ecology and aesthetics, forming multiple layer planting. Also, plants with small white flowers, for example rowans(Sorbus commixta), shadbush(Amelanchier asiatica), sealwort(Polygonatum odoratum), and American columbines(Aquilegia vulgaris) were planted in these wild gardens as plant colonies to make natural connections with other plants through drifts.

• Journal of Educational Research in Mathematics
• /
• v.25 no.4
• /
• pp.717-754
• /
• 2015

As a design research, this study aims to identify students' collaborative problems solving patterns using the Wiki and design factors triggering MKB(mathematical knowledge building) in virtual environment. For 70 days, 14 Korean secondary gifted students, who enrolled in calculus II courses in one of gifted institutions in Korea, solved 10 math problems together using the Wiki. In this study, I considered five design factors; motivation, practice of LaTeX, norms of participation, epistemic agency, and two types of educational settings. The primary pattern emergent in students' collaborative problem solving process is identified as 'solutions and refutations' along the double helix consisting of the constructive line and the critical line, which is very similar to the pattern of 'Conjectures and Refutations'(Lakatos, 1976). Despite that most participants had difficulty in using LaTeX for mathematical expressions, this study shows that Wikis are valuable tools for providing Korean secondary students opportunities to learn social virtue such as humility and courage (Lampert, 1990), which is considered to be have been neglected in Korean educational environment but is emphasized as precious for doing mathematics in the field of mathematics education.

• The Journal of the Korea Contents Association
• /
• v.16 no.9
• /
• pp.779-790
• /
• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Sijohaknonchong
• /
• v.22
• /
• pp.173-194
• /
• 2005

Studying on the history of korean ancient poetry, we come in contact with a series of verses which 'Jejisarim's Kangho Shijo'. In the 16th century are the representative works among them. Sarim were involved in the domestic discords so that they brought about severe party strifes after all. 'Jejisarim's Kangho Shijo' profoundly dealt with the various problems concerning nature and human beings. Lee, Hyunbo and Lee, Whang are closely related with the philosophical attitudes of Confucianism. After this, Kyun, Homun and Jang, Kyungse can be largely summarized as the dual theory of reason and spirit. From the standpoint of natural principles, the epistmology of Confucianism. the theory of reason has characterized by ideality and reality. It can be said that the problem of harmonizing and uniting nature with human beings was solved in the unity of space and man. 'Jejisarim's Kangho Shijo' in the 16th century prominently express not only the courses of character cultivation but also the pride and close relationship between nature and human beings. We can say that 'Jejisarim's Kangho Shijo' in the 16th century are divided into both types of the conservative idealism and the reformative realism in the Jejisarim. Kangho Ship. the epistmology of Confucianism nature and human beings. ideality and reality political status and that such ships can be separated into types ideality and reality in the philosophical context.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.2
• /
• pp.1-10
• /
• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.12
• /
• pp.1727-1738
• /
• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.

• Sijohaknonchong
• /
• v.30
• /
• pp.219-240
• /
• 2009

Jasan An Whak did research on the essence of Sijo to show that Sijo has some features as a literature. I tried to show the formation process of Sijo theory in 1930s through Jasan's Sijo theory. As a preparatory step for it, I introduced Jasan's Sijo theory released in early 1930s and examined the characteristic aspects of it. Jasan recognized a literature as a directing post that reveals the history of our national spirit. He thought a literature as a foundation for satisfying new age. Also, he recognized the essence of a literature as a emotional expression. He emphasized that a new literature in Joseon age should have not only particularity of Joseon literature but also universality of modern literature. Jasan studied style of Sijo. Because he was at the time of modernization, he used the term, 'style', instead of 'poongkyeok', which had used before modern time. He tried to show linguistic artistry of Sijo through the series of his works about the style of Sijo. Jasan tried to find formal beauty of Sijo in the aspect of rhythm instead of rhyme. And he claimed that poetic words can be lengthened or shortened to be harmonious with the melody of Sijo. In other words, it is possible to change the words of Sijo for harmonizing with a tune. Jasan recognized that the words of Sijo have a musical function as well as a semantic function.

• Journal of the HCI Society of Korea
• /
• v.13 no.3
• /
• pp.17-33
• /
• 2018

Humans process aesthetic functions of objects such as form, size, color, and texture through vision, while at the same time observe them with a symbolic function by a new psychological interpretation based on their past experience. Therefore, it is more important to study and understand the thoughts and psychological influences of how humans perceive with their eyes than what humans simply look with them. With this research purpose in the background, this study will demonstrate in detail the cognitive characteristics of analog and digital images as a symbolic function with a "formative" point of view. Five hypotheses were established, which were proven through the following tests: smartphone, most frequently used in our daily lives, is simplified to a two-dimensional line drawing form, which is set to instances where the R(radius) is applied to the horizontal line of the two-dimensional form of smartphone, where Run-in-R(radius) is applied, and R(radius) rounding is applied to the edges of those shapes. The shapes were combined to form 12 pairs, which was used in a test to the test subjects. As a result, some human characteristics were observed; in specific, some helped prove objectively how humans perceived analog and digital images as psychologically stronger as a symbolic function. If people's thoughts and feelings gained through such study could be stored in database as one value and be provided to product designers, I believe it could be developed into design form as a basic emotional design that consumers desire.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.77-94
• /
• 2020

Gugok poems were an important material for studying the Gugok landscape garden(九曲園林). the landscape feature(景物)that emerges from poetry is an important material that expresses the sense of placefulness and garden consciousness(園林意識). However, many studies are passive about plant materials that can explore the perception of nature or the aesthetic embodiment process. Therefore, this study seeks to discover various symbolic meanings and reveal the context of plants that have appeared in Gugok poems in order to expand the research material of the Gugok culture. To carry out the purpose of the study, I collected a total of 25 related poems from 18 Gugoks and found a total of 20 species of trees. I used 'R-program' to derive the meaning of trees and examined the meaning of trees by intertextuality. According to the study, the 20 species of trees contained symbolic meanings of world of Taoist hermit, pursuit of study, constancy, true pleasure, dignity, honest poverty, reign of peace, nostalgia. Many species focused on the symbolism of the 'world of Taoist hermit' and then on the 'dignity' was the most frequent. A number of species, except for the peach, zelkova and oak, had multiple meanings. Among them, pine trees and lotus had a wide range of symbolic meanings and different meanings depending on the characteristics of the surrounding landscape. While the Gugok culture generally targets natural scenery, Yongsan, Toegye, Deoksan, and Jusan showed the characteristics of strengthening or reproducing symbolic meanings through artificial plating and gardening. In order to overcome the limitations of the peach tree, which symbolizes 'Mureungdowon(武陵桃園)', Gugok poems used maple trees and reeds as alternative species. In accordance with the above context, the trees appearing in the Gugok poems expressed their symbolic meaning differently according to the landscape features, acts and purposes of the Gugoks, rather than sticking to the traditional meaning.