• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.149-157
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• 2016

The purpose of this study aims to investigate the characteristics of architectural association methods which apply Hall's poetic concept by looking into how Hall extracts languages and images under what circumstances and by analyzing how the extracted elements are integrated into an architectural space through what association processes. First of all, poetic association functions in the architectural process are compared, and the value of using visual associations in architectural designs are investigated based on the results of the analysis. Next, Steven Holl's poetic concept is investigated in the context of the concept extraction step, the idea expansion step, and the space composition step in order to find out how such association methods work in the process of architectural designs. The methods of reproducing, changing and using Steven Holl's poetic concept can be summarized as follows in relation with experiential associations, multi-meaning associations and morphology associations: 1) Steven Holl's experiential associations are a method of expressing perceived images in the form of languages in the process of interpreting land and programs. This method has the characteristics of reproducing various architectural ideas by generating a relationship between invisible characteristics of land in images and languages. 2) Steven Holl's multi-meaning associations are a method of directly associating a project with related objects and incidents, or of coming up with a hidden meaning. It has the characteristics of changing ambiguous images of metaphoric, figurative or ironic languages into concrete architectural images. 3) Steven Holl's morphology associations is a method of expressing morphology images and languages which are directly related to the images. Morphology associations have the characteristics of regenerating sensory experience elements into languages or images, which can be seen experiential associations; or they use metaphoric images in architecture by substituting them with other architectural elements, which can be seen in multi-meaning associations.

• Lingua Humanitatis
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• v.1 no.2
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• pp.21-46
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• 2001

No one would deny that, despite the fact that they are the central factor in any given communication system, language signals have their limitations. For example, language cannot keep up with the radical changes that occur in the world and its ideas. The present meaning of a language signal is always pegged to the past when it was originally created. This limitation in turn puts limitations on the way we conceive of the world, and we have no choice but to watch the world through the refracted, darkly colored lens called language. Lee Sang′s was well aware of these limitations, and his works reflect his suspicion of language. This paper argues that Lee Sang′s "Ogamdo 1" is a poetic commentary on the ambiguity of language signals; that "Ogamdo 2" is an accusation of the stationary nature of language signals; ; and, finally, that "Sune-kwanhan-gakseo (Treatise on Lines) 7" is a poetic expression of Lee Sang′s negative view of the symbolic limitation of, and the fragmentary nature of, language signals.

• Current Research on Agriculture and Life Sciences
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• v.12
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• pp.1-7
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• 1994

This paper analyzed the linguistic origin of the korean plant's name to give the better understanding of korean plants through the botanical names of native plants. In this study, a book "Flora of Korean" was used for analyzing plant's names. Some of the results were summerized as follows. Names of native plants in Korea were derived from animal and botanical were highest rate as 23.6 percent. And another names were composed of form of plants, local region, imagination, human beings and appearance of plant, each rate was 19.6 percent, 17.9 percent, 15.0 percent, 14.2 percent and 8.3 percent, respectively. Although the rate of name derived from botanical components was lowest, the number was 75.

• 한국해양학회지
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• v.3 no.2
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• pp.63-72
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• 1968

해양에 있어서의 생물체의 에너지 순환, 즉 해양에 있어서의 생산체계에서 이중 먼저 기초생산체계만이라도 그 전상을 파악하자는 일은 먼 옛날부터 해양생물학자들의 진지하고도 끊임없는 추구대상이었다. 해양에는 막대한 양의 바닷물이 잠겨있고, 이곳에는 엄청난 양의 생명체가 함양되어 있으며, 이것들은 피포식자-포식자의 계열에서 어떠한 균형상태를 이루고 있는가하는 문제는 극히 흥미가 진진한 문제이다. 해양에 함양되는 무수한 생명체들은 간단없이 명멸, 소장만을 거듭하고 있다는 시적인 형용과 연상은 한층 더 구체화되어야 한다. 이러한 경향은 또한 근래의 세계인구의 격증에 대비하는 인간의 식량조달의 필요상, 해양이 지닌 잠재적인 식량생산의 여력을 재평가하자는 기운에서 한층 더 박차가 가해졌었다. 식량생산의 보고로서 해양에 주어진 책무는 크기만 하다. 해양에 잠겨있는 막대한 양의 바닷물은 긴 년월에 걸쳐 자연이 조제한 훌륭한 하나의 배양액이라고 불수 있고, 이것의 다각적인 이용개발은 지금부터 시작되었다고 해도 과언이 아니다. 근래에 이르러 각종기구 및 측기의 발달에 따라 해양의 물리, 화학 및 생물학적인 미세구조가 점차적으로 해명됨에 따라 해양학에 있어서의 고전적이고 전통적인 개념에 수정을 강요하는 사태가 적지않게 일어나고 있다. 해양의 기초생산체계에 대한 개념도 크게 비약하고 있으며, 해양에 있어서의 식물플랭크톤->동물플랭크톤->소형동물->어류를 연결하는 일방통행적인 식물연쇄개념을 크게 확대하고 비약시키지 아니하면 안될 여러 가지 사실이 들어나고 있다. 해양의 생물생산계의 기초적인 역할을 하는 것은 식물플랭크톤, 데트리타스 (detritus)등을 포함한 미소현탁물이라는 것은 틀림이 없으나, 이것들이 생명물질 기워니 아니드라도 물리현상으로 일어나는 기포를 매개로 하여 생성할수 있는 가능성이 제시되었다. 여기서는 이러한 해양의 미소현탁물에 관한 연구에 대해서 그 의의와 연구결과를 요약 소개하여 해양학도들의 참고로 한다. 이 종설을 꾸미는데 Jorgensen(1962), riley(1963), Parsons(1963), 서택(1966)등의 같은 토픽스에 관한 종설을 많이 참고로 한 것을 부기한다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.