• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.94-108
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• 2010

The purpose of this study is to provide data for the restoration of 'Yongyun(龍淵)' and 'Hwahongmun(華虹門)' through an investigation of the vicinity of their original landscapes at the time of construction of Hwaseong in Suwon and through tracing the transformative process of the environments of this vicinity. The results are as follows; As identified by 'Yongyunjung(龍淵亭)' and 'Yongdugak(龍頭閣)', other names of Yongyun, 'Banghwasuryujung(訪花隨柳亭)', which was built on 'Yongduam', is a facility whose place identity is highlighted with a sense of unity with Yongyun. The south lakefront of Yongyun, bordering Banghwasuryujung, has boundaries that make the best use of the natural geographical features of Yongduam while the current circumference of Yongyun is comparatively shorter than its original state. The size of 'Joongdo(中島)', however, seems to be an example of apparent over-design complement and reorganize 'Joongdo', which had been restored larger than its original state at the time of restoration in the 1970s. The depth of 'Yongyun' was created to be lower than the actual depth, without consideration for its initial depth, as soil was accumulated through continuous flooding after it was created. It is assumed that the original drains which were installed about 10m inside the lake were created facing the stream. As regards the planting environment, a circular planting of willows was made in the outskirts of 'Yongyun', except the 'Yongduam' which is a pure forest, and a mix of 'Pinus densiflora', shrubbery and deciduous broad leaf trees was planted in 'Joongdo'. Of the plants growing in the area of this study, plant species introduced to Korea after Hwaseong was constructed are found, most of which provide interest and attraction. The old pine trees growing in a group once grew in the castle areas of the vicinity even in the 1920s, the period of Japanese occupation, but they disappeared from the area in the aftermath of subsequent urban development and the Korean War. Although restored to the site, the number and space taken up by these trees are insignificant compared to those of the original environment. On the basis of these results, the following is considered necessary for the true restoration of the vicinity of 'Yongyun' and 'Hwahongmun': First, the grounds of 'Yongyun' should be dredged deeply enough to expose the bedrock and should be recreated in the rough outline of a half moon by extension to the southwest toward 'Yongduam' and 'Hwahongmun', and the size of 'Joongdo' should be significantly reduced. Secondly, considering that most plant species, except the pine trees and wild trees in 'Yongduam', are non-native plants introduced in order to provide such attractions such as the appreciation of scenic areas, they should be replaced with native species, mainly with the pine trees which were utilized during the construction of Hwaseong. The weeping willows planted in the 'middle-island' should be relocated to the outskirts of 'Yongyun', and replaced with pine trees as the major trees and maple trees or deciduous broadleaf trees to fill in the gaps. Thirdly, exotic species such as the 'Pinus rigida' planted in a group around 'Banghwasuryujung' and 'Bugammun' and 'Pinus strobus' planted in the vicinity of Hwahongmun' should be removed.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2012.05a
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• pp.10-10
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• 2012

독일의 와인 생산지는 라인 강과 그의 지류를 따라 대개 서남쪽에 산재해 있다. 독일은 102,000 헥타르(2005년, 전 세계 포도밭의 1.3%)의 포도밭을 가지고 있으며, 매년 약 915만 3천 헥토리터(2005년, 전 세계 생산량의 3.24%)의 와인을 생산하고 있다. 이는 독일이 포도 재배면적으로는 세계 13번째 국가이며, 와인 생산량으로는 세계 8위를 나타내는 수치이다. 독일은 원래 화이트와인의 나라였으나, 레드와인의 생산이 1990년대와 2000년대에 급속히 증가하였다. 현재(2011년) 독일 포도밭의 64%가 화이트와인을 위해 경작되고 있으며, 36%가 레드와인을 위해 경작되고 있다. 화이트와인을 위한 주요품종이 리슬링(Riesling, 22%), 레드와인을 위한 주요품종은 쉬페트부르군더(Sp$\ddot{a}$tburgunder, Pinot Noir, 11.5%)로 알려져 있다. 독일은 다양한 형태의 와인을 생산한다. 드라이(dry), 세미스위트(semi-sweet)와 스위트한 화이트와인들(sweet white wines), 로제와인, 레드와인과 발포성 와인인 젝트(Sekt, 독일형 샴페인)이다. 독일 포도밭의 위치가 북쪽이므로, 독일은 유럽의 다른 나라와는 전혀 다른 다수의 훌륭한 품질의 와인을 생산한다. 오늘날 독일의 포도재배는 1세기에서 4세기쯤의 고대 로마시대부터 시작된 것으로 알려져 있다. 카롤루스 대제(Carolus Magnus, 747/748-814)의 시대 전에 독일의 포도재배는 비록 독점적이지는 않았으나 라인의 서부지역에서 주로 경작되었다. 카롤루스 대제는 포도재배를 라인가우에 보급한 것으로 추측되고 있다. 1787년에 아우스레제(Auslese)로 시작한 수확된 성숙도에 기반을 둔 와인의 후속 분류는 품질보증 고급와인 체계의 초석을 놓았다. 대부분의 현재 독일 와인법은 1971년에 도입되었으며, 그 이후 사용되어온 바와 같이 품질보증 고급와인의 이름이 정의되었다. 독일와인 지역은 세계에서 가장 북쪽인 북위 $50^{\circ}$도 부근에 위치한다. 북쪽의 기후이기 때문에 적합한 포도 품종에 대한 연구가 되어왔으며, 가이젠하임 포도 육종 연구소에서 뮐러-투르가우와 같은 많은 교배종이 개발되어 왔다. 최근에 지역 및 국제 수요가 높은 품질의 와인을 요구함으로서 리슬링의 재배가 증가해 왔다. 와인은 모두 자주 산맥으로 보호된 주로 라인 강과 그 지류인 강 주변에서 생산된다. 강들은 온도를 조절하는 충분한 미기후 효과를 갖는다. 토양은 태양의 열을 흡수해서 그것을 밤에 보존하는 점판암이다. 독일 와인산업은 다수의 작은 포도밭 소유자로 이루어져 있다. 1989/90년에 서부독일에 76,683개의 크고 작은 기업이 있었으나, 1999년에는 68,598로 줄어들었으며, 2010년도의 조사에 의하면 48,009개의 기업이 조업 중인 것으로 나타났다. 그들 자신의 와인을 팔지 않거나 상업화할 수 없는 더 작은 포도 재배자는 여러 가지 선택이 가능하다. 즉 포도를 팔거나, 와인-생산 조합의 기본 와인으로서 그것을 사용하는 와인제조 회사에게 대량으로 와인을 판다. 정말로 좋은 장소에 포도밭을 가진 사람들도 포도밭을 전체적으로 경작하기를 원하는 대량 생산자들에게 빌려주는 선택을 할 수 있다. 2010년에 각각 5ha 이상을 지닌 5,974개의 포도밭 소유자가 독일 전 포도밭 면적의 70.3%를 소유하며, 생업 와인생산자와 기업이 여기에 속한다. 그러나 그들 자신의 포도밭을 지닌 진정으로 큰 와인 양조장은 독일에서는 희귀하다. 2007년의 고에 묘 와인가이드(Gault & Millau Weinguide)에 의한 독일에서 가장 좋은 것으로 생각되는 10개의 와인 양조장 중에 10개가 10.2-19ha의 포도밭, 하나(Weingut Robert Weil, 산토리 소유)가 75ha의 포도밭을 소유하였다. 이것은 대부분의 높은 순위의 독일 와인 양조장 각각 매년 약 100,000병의 와인을 생산한다는 것을 의미한다. 가장 큰 포도밭 소유자는 헤센의 주 와인 양조장(Hessische Staatsweing$\ddot{u}$ter)으로 헤센의 연방주에 의한 소유이며, 200ha의 포도밭을 지니고, 3개의 별도 와인 양조장에서 제조된다. 가장 큰 개인이 소유한 와인 양조장은 팔츠에 있는 85.5ha를 지닌 독토르 뷔르클린-볼프(Weingut Dr. B$\ddot{u}$rklin-Wolf)이다. 2009년도의 독일에서 총 와인 생산량은 910만 헥토리터였으며, 그중에 206만 8천 헥토리터를 수출하였다. 그러나 그해에 총 수입와인 양은 1,266만2천 헥토리터였다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.135-145
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• 2012

Traditional village forests called Dangsan forests and Bibo forests in Korea represent an unique cultural landscape with a history of more than several hundred years. Feng-shui forest in China, Satoyama and Shinto shrine forest in Japan are recognized internationally as 'traditional ecological landscapes'. Dangsan forests and Bibo forests have been preserved through generations in the villages, and are no less valuable than Feng-shui forest, and Satoyama. However, the names of Dangsan forest and Bibo forest have not been well recognized worldwide. Dangsan forest in Seoseong-ri, Wando-gun is located on a mountain slope at a riparian forest. It consists of an evergreen broadleaf forest and Carpinus laxiflora forest. The characteristics of Dangsan forest in Seoseong-ri could be found at 10 sacrifice offering places. Two Dangsan trees on the coastal area are included in the sacrifice offering places. Cultural heritage can retain their value when they are fully sustained. Additional construction, demolition or modification should be banned. Furthermore, all means must be taken to facilitate the preservation of monuments and the value and meanings pertaining to them should not be distorted. In a respect of authenticity, Dangsan forest in Seoseong-ri, Wando-gun seems to have original Dangsan culture based on animism with a philosophic background, where a religious service for the mountain god is held at rock of mountain god, and Dangsan ritual is held at shrine on January 8 at 4:00 am by lunar calendar. Relating to the conservation and management of cultural heritage in international discussion, the importance is that whether there is sustainability on the right to the enjoyment of cultural heritage. Dangsan forest in Seoseong-ri is leaved alone to the public. The forest need a social mechanism to support the recovery of deformed shrine and to heighten public awareness of Dangsan forest in order to claim the value as a unique traditional ecological landscape in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.55-86
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• 2021

The initial situation in our tale shows that the earth-mother-feminine principle disappeared from the center of the collective consciousness into the collective unconscious. Therefore the heaven-father-masculine principle is dominant, which is represented by the king. And in the king's daughter, who is living without mother, the positive father complex is working. She stays in the heaven-spirit world playing with the golden ball, which can be seen as the state of inflation. She is disconnected from the earth-mother-feminine principle, which is important for a woman to find her genuine feminine identity. This demanded principle approaches her through the frog, a bewitched prince. Psychologically it means that a man is under the power of the negative mother complex. The disgusting, ugly frog is a symbol for the shadow, the earthly animal instincts of the princess. Only with his help she can find her golden ball again, which has fallen into the deep well. Their talk about the rewards to him for his help shows us very well the opposites. The frog wants the feminine value such as relation, earthly eros, but the princess offers the masculine value such as heavenly logos. After the frog brought her the lost ball, i.e. she regained her libido, she completely forgot her promise. Like this the content, which is becoming conscious, here the shadow, is easy to fall back into the unconscious and to be repressed. The frog cannot be with the princess without the help of the king, a father figure, a firm protector of the collective oder. At first unwillingly the princess obeys Logos of her father. But her authentic instinctual urge grows stronger and it causes that her ego is released from the power of her father complex. At just this moment the frog turns into a prince, i.e. he is liberated from the mother complex. The marriage of princess and frog-prince symbolize the unification of the opposites: heaven becomes earthly and earth becomes heavenly. Three iron bands, wrapped around the heart of Heinrich, a young king's servant, are snapped, while he brings the prince and princess back to his kingdom. The heart, the place of earth-mother-feminine consciousness, is now liberated. This principle, which disappeared into the unconscious, emerged into the collective consciousness and the wholeness is recovered. The Self is now leading the collective consciousness, which includes not only the principle of Logos but also Eros.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.37-47
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• 2024

Currently, social interest in post-cremation funerals is growing due to the establishment of cremation culture. In addition, as awareness of nature-friendly funeral methods spreads in modern times, the demand for tree burial grounds and tree groves, which are representative natural burial methods, is increasing. However, if the current method of relying on trees is used, the forest burial may damage the forest and turn it into another cemetery. The tree decoration is a funeral method that contains the temporal meaning of humans returning to the space of nature that we have, and the philosophical meaning that humans return in compliance with nature. Like this, there are quite a few concerns. Even though tree burials are not the traditional burial facilities we are familiar with, many of the facilities and operating systems adopt the standards of park cemeteries and have stricter standards and restrictions than natural burials under the law. This rigidity is intended to preserve the forest, but the reality is that it limits the expansion and operation of tree plantations. To this end, this study seeks to find specific improvement measures for sustainable tree plantation operation. To this end, we look at the types of natural fields in foreign countries and find directions for tree planting that can be effectively applied and established in accordance with the sentiments of the people. Specific improvement measures include an enshrinement method that does not rely on memorial trees, the operation of anonymous or anonymous tree planting, a change in the method of visiting and commemorating, and various mountaineering methods, thereby suggesting alternatives to sustainable tree planting in Korea. The place where tree planting is implemented is the forest, that is, the forest itself. I should be a place where the spirit of natural return, which is the essence of the deceased, can be celebrated through the forest, not a funeral facility. By doing so, it will be possible to provide the public value of the forest, that is, the social function of the forest, in the name of an eco-friendly funeral service.

• Journal of the Korean Society of Food Science and Nutrition
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• v.46 no.7
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• pp.876-885
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• 2017

This study aimed to identify the characteristics of Home Meal Replacement (HMR) product purchases and the need for HMR product development for Hong Kong consumers in order to suggest market segmentation strategies according to consumers' dietary lifestyle. For this, an online survey was conducted on a panel of 521 Hong Kong consumers with HMR purchase experience registered at a specialized organization. Data analysis was performed using SPSS (ver. 23.0). HMR purchase characteristics of Hong Kong consumers according to dietary lifestyle showed significant differences in all items, including 'number of purchases', 'purchase location', 'cost of single purchase', and 'reason for purchase'. According to dietary lifestyle, participants were divided into three clusters: 'High interest', 'normal interest', and 'low interest'. In the case of 'high interest in dietary life group', 'low-sodium food' was the most common, followed by 'heating food', 'low sugar food', and 'low calorie food'. In the case of 'moderate interest in dietary life group', 'low-sodium food' was the most common, followed by 'low sugar food', 'low calorie food', and 'nutritious meal'. In the case of 'low interest in dietary life group', 'low sugar food' was the most common, followed by 'low-sodium food', 'various new menu', and 'easy-to-carry dehydrated food'. For the 'high interest' group, the highest proportion of consumers were male in between the ages of 20 to 29, married, and worked in an office job. The 'high interest' consumers also showed a tendency to pay '15,000 to 20,000 KRW' per single purchase. The 'normal interest' group consisted of an even proportion of male and female consumers, with the most common age range being from 30 to 39 years, and most were married. These consumers preferred to spend 'less than 10,000 KRW' or '10,000 KRW to 15,000 KRW' per single purchase, which is in the lower price range for HMR purchases. The 'low interest in dietary life group' had more females gender-wise, were unmarried, and worked in an office job, For a single purchase, the 'low interest' group chose to pay less than 10,000 KRW, which is relatively lower than the other two clusters. The results of this study can be used as baseline data for building marketing strategies for HMR product development. It can also provide basic data and directions for new HMR export products that reflect consumer needs in order to create a market segmentation strategy for industrial applications.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.