• Title/Summary/Keyword: 선큰 가든

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Lighting performance of high reflection wall within covered sunken garden (천창이 있는 선큰가든의 고반사율 벽면에 의한 심도 공간 채광성능)

  • Lim, Hong-Soo;Kim, Gon
    • 한국태양에너지학회:학술대회논문집
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    • 2009.04a
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    • pp.19-26
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    • 2009
  • This study is performed by method for the influx of natural light in underground space. to solve the several negative underground issues make the covered courtyard and high reflected wall toward the adjacent space. for illuminance level test of sunken garden space, the adjacent space size is $15M{\times}9M{\times}12M$ sunken Garden with space to install the ceiling on the size of the companion light performance analysis, and seasonal changes derived by the light of changes in performance. In addition, increase the distance of the wall and the adjacent space and estimate the average at true time P.M12. The resulting data indicate that the road was an average lux DESKTOP RADIANCE of the modeling and analysis was conducted.

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The Sense of Outdoor Characteristics on the Shopping Mall Planning -Focusing on Common Space Comparison- (쇼핑몰의 야외성 발현 특성에 관한 연구 -공용공간 비교를 중심으로-)

  • Cho, Hun Hee;Oh, Joon-Gul
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.19 no.3
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    • pp.557-566
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    • 2018
  • Shopping malls have been developed to increase sales revenue and attract visitors. This study focused on the sense of the outdoor characteristics of these shopping malls by comparing open and enclosed types of shopping malls in common spaces in LA and Korea through case study analyses. This research through case studies will form the foundation of comfortable shopping mall space design. The results are the follows. 1. Enclosed shopping malls tend to provide large indoor space to create a sense of outdoors. 2. The common space of enclosed shopping malls is developed through space expansion with horizontal and vertical connections that appear in different combinations depending on the space constraints and contexts. 3. The architectural planning of enclosed shopping malls are largely dependent on the concept of everyday life portrayed in the identity of each space, which usually involve the inclusion of sizable atriums to host indoor sports or special performances.

A Study on the Forming and the Transformations of Seokjojeon Garden in Deoksugung (덕수궁 석조전 정원의 조성과 변천)

  • Kim, Hai-Gyoung;Oh, Kyusung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.3
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    • pp.16-37
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    • 2015
  • As a result of analyzing the forming and the transformations of Seokjojeon Hall garden by linking it to the changes of Deoksugung Palace influenced by the social atmosphere, the Seokjojeon garden can be classified into four phases. The first phase starts from 1896 to 1914. Gyeongungung was built in the late 19th century(1896-1897) as an official palace and Junghwajeon Hall and Seokjojeon Hall was built for Gojong. J.M.Brown was in charge of the construction of Seokjojeon in the beginning but H.W.Davidson saw the end also set up the garden. In the process of forming the garden the incorporating of Dondeokjeon Hall and the demolishing of the west wing corridors of Junghwajeon Hall occurred. At this phase of the garden a statue of an eagle was put up in the garden but was soon taken down. The shape of the garden was quiet simple with a central axial pathway, a round assorted flower bed placed in front of Seokjojeon Hall. The second phase starts from 1915 to 1932 which lasted for 17 years. At the last years of the Great Han Empire the duties of Gungnaebu(宮內府) was transferred to Leewangjik(李王職) in 1911 and a research on the existing buildings was done by Jujeonkwa(主殿課) in 1915. According to the research drawings, the garden still maintained the axial pathway formed in the previous phase but the garden had an asymmetric form. The flower bed was formed in a round shape and an open-knot technique and boundary plantation was applied to the garden. The third phase starts from 1933 to 1937 and is the period when Seokjojeon Hall was made public. By the year of 1932 many buildings of Deoksugung Palace had been demolished in the preparation of the opening of Seokjojeon Hall as a permanent exhibition hall. The central axial pathway still remained in the new garden and added a pond with a turtle statue in the center. The fourth phase starts from 1938 until the liberation from Japan and is the period when Deoksugung Palace became a park. Yi Royal-Family Museum was built and linked to Seokjojeon Hall with a bridge and the garden transformed into a sunken garden. The garden adopted a fountain and a pagora. Despite the minor changes in the after years the garden still posses most of its form from the fourth phase. As we can see the current garden of Seokjojeon Hall is not the same as the initial garden and therefor the importance of this study lies in the fact that modifications to the statements regarding to Seokjojeon Hall garden should be made.

A Study on Karl Foerster's Garden from the Viewpoint of Planting Design (재식설계의 관점에서 본 칼 푀르스터(Karl Foerster)의 정원 연구)

  • Park, Eun-Yeong
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.3
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    • pp.38-44
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    • 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.