• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.24-55
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• 2010

Jangmyeongdeung Lantern (貞陵長明燈) refers to the stone lantern placed in front of the royal tomb. It serves both symbolic and decorative purposes; symbolic because it is supposed to guard and illuminate the buried, and decorative because it is a work of sculpture that adorns the entire graveyard. The Jangmyeongdeung of Jeongneung was the earliest stone lantern to be produced during the Joseon period. Its square shape is unique among those from the early to mid-Joseon period. The three major parts of Jangmyeongdeung - the stand, the lantern, and the roof-shaped cover parts - are square in shape, differing from the octagonal shaped Jangmyeongdeung. The stand consists of three single stone blocks, the Hadaeseok(下臺石), Ganjuseok(竿柱石), and Sangdaeseok(上臺石). The Hwasaseok(火舍石), or the lantern part, is also a single stone block. Jangmyeongdeung of Jeongneung succeeds the style of those of Hyeon-neung and Jeongneung(玄正陵) of the Goryeo period and is of a better artistic quality. As the first Jangmyeongdeung lantern, it is a refined work of art that marks the foundation of the Joseon Kingdom. This paper tries to ascertain the stylistic origin of the square-shaped Jangmyeongdeung of Jeongneung and compare it with those of Buddhist temples. Consequently, similarities were found among the stone lanterns of Zen priests 'Jigong'(指空) and 'Nawong'(懶翁) in the Hweamsa Temple(檜巖寺) site from the late Goryeo period, those of Zen priest 'Muhak'(無學) of the Hweamsa Temple site, and those of national priest 'Bogak'(普覺) of Cheongnyongsa Temple(靑龍寺) from the early Joseon period. Primarily, this is because the three components(the stand, the lantern part, and the roof-shaped cover) are essentially square-shaped. Second, as the Ganjuseok(one of the components of the stand) became shorter, the stand took a more stable form. Third, the Hwasaseok(the lantern part) consists of two stone blocks joined together. Fourth, the roof-shaped cover is also in square in shape. Similarly, the Jangmyeongdeung of Jeongneung contains Buddhist elements as well. The three-bead pattern that decorates the Ganjuseok stand is an example. The three-bead pattern is one of the symbolic elements related to Tantric Buddhism. It is found on the diadems worn by Bodhisattvas from the Goryeo and early Joseon periods. The Jangmyeongdeung of Jeongneung in early Joseon directly influenced the production of the square-shaped stone lanterns used to decorate the tombs during the Joseon period. After the latter half of the 15th century, however, the octagonal-shaped Jangmyeongdeung style began to prevail. The Jangmyeongdeung of Jeongneung reflects the succession of the tradition of royal tombs from Goryeo to Joseon, the introduction of square-shaped stone lanterns to Buddhist temples, and the influence of the Buddhist philosophy of the time. It is a living testimony to various elements of each time and corresponding cultural trends.

• 대한공업교육학회지
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• v.34 no.1
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• pp.87-112
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• 2009

The aim of this research is to suggest the model of reconstruction and remodelling of S high school of broadcast for converting into a specialized one in the section of broadcast industry. The method of reconstruction of the laboratories by each department is as follows. First, the names of laboratories, ground plans, and perspective drawings are designed according to the principle of constructionism. Second, each department is recommended to install 7 laboratories. For the department of broadcasting facilities, a laboratory of processing broadcasting machines, a laboratory of broadcasting machines, and a laboratory of screen picture machines are needed. For the department of broadcasting, electricity, and communication, a laboratory of image and sound edition, a laboratory of broadcasting and communication, a laboratory of broadcasting system, and a laboratory of stage illumination. For the department of broadcasting stage construction, a laboratory of broadcasting stage building, a laboratory of broadcasting stage design, a laboratory of broadcasting stage decoration and etc. Third, an office room is designed by department in the form of seminar room and places for practice is formed by department to be a laboratory. Fourth, a room for industrial-educational cooperation is installed by department, by which education of industrial-educational cooperation is carried out harmoniously. And one example of a remodeled laboratory by one department is shown with laboratory name, ground plan, perspective drawing, and running method. Especially employment of teachers working both school and business, professional club which is concerned with broadcasting technique, and attraction of enterprise in school is suggested as important elements to manage broadcasting laboratories efficiently. Finally, it is desirable for us to attract private capital, that is, Build-Transfer-Lease(BTL) because much budget is required for purchasing the broadcasting equipments and remodelling the laboratories to succeed as specialized high school on broadcasting section.

• Journal of Korean Society of Forest Science
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• v.87 no.2
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• pp.276-285
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• 1998

The aboveground biomass and nutrient content (N, P, K, Ca and Mg) of Pinus koraiensis S. et Z., aged 9, 22, 34, 46, 66 years, were measured in the Experiment Forest of Kangwon National University of Kangwondo province. The site index of the stands ranged from 13.5 to 14.2. Allometric equations (logY=alogX+b, where Y, X is ovendry mass and DBH, respectively) relating dry weights of stem, branches and needles to diameter at breast height (DBH) were developed to estimate aboveground tree biomass. Total above ground tree biomass increased with stand age from $21.8t\;ha^{-1}$ in the 9-year-old stand to $130t\;ha^{-1}$ in the 66-Year-old stand. Aboveground biomass was allocated as follows : stem> branch > foliage, except for the 9-year-old stand which had a greater proportion of foliage biomass than branch biomass. As stand age increased, an increasing proportion of annual biomass increment was allocated to stems. The aboveground biomass of shrubs and herbs ranged from 0.4 to $3.9t\;ha^{-1}$ and from 0.05 to $0.6t\;ha^{-1}$, respectively. No relationship was found between aboveground understory biomass and stand age. The mass of woody debris and forest floor varied between 0.59 to $1.54t\;ha^{-1}$ and 6.0 to $21.63t\;ha^{-1}$, respectively. Nutrient accumulation in aboveground tree biomass increased with stand age and was in the order of N > Ca > K > P > Mg. Average rates of nutrients accumulation in biomass were greatest in the early stages of stand development, and less marked as stand aged. The nutrient concentrations in different tree components decreased in the order of needle > branch > stem. There were no detectable trends in nutrient content of the forest floor and mineral soils with stand age. Understory vegetation contributed little to the nutrient pool of these Korean pine ecosystems. Mineral soil contained the Breast proportion of nutrient capital of the various ecosystem compartments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.132-142
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• 2014

This study is the first stage to identify distinctive characteristics of American Romantic Garden compared to English Romantic Garden. The purpose of the study is to identify characteristics of transitional garden in the early period of America by analyzing of Paca garden, Mount Vernon and Monticello when English Naturalistic Garden was firstly imported. The analysis studied historical background, people who designed garden, formal garden and characteristics of natural garden through reference. Also based on data through reference and field research, spatial configuration and garden factors of each site were analyzed. In spatial configuration, straight line and curve line, formal terrace and natural slope, visible axis and invisible axis, symetric and asymmetric, and perspective and oblique perspectives were used as analyzing factors. As a result of analysis, each garden showed different type from that of formal gardens from colony period, which is natural garden of asymmetric garden(English natural garden) coexisted. Paca garden which planned formal garden and natural garden in each space showed characteristics of each space, but in formal garden residential axis and garden axis does not coincide which shows it is out of formal garden type. Such phenomena and the fact that naturalistic garden coexist in the same garden shows that the formal garden type from early days in US is starting to change in different types. Mount Vernon garden, similar to Paca garden, was designed to have two different types of gardens in harmony rather than divide the space into different space and design it. It adapted serpent walkway but shows symmetric by central axis and considered formalistic plan through same materials. However through terrace in hills and spatial plan of oblique perspective, one could observe that naturalistic type was beginning to settle in US gardens. Through Monticello analysis, space was designed with major characteristics of naturalistic garden which is serpent walkway, ornamental farm, winding flower bed grove and bush and oblique perspective, and it completely duplicates characteristics of naturalistic garden which could not be found in gardens imported from UK.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.120-141
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• 2015

This paper is a preliminary study of architectural characteristics of Jangdae (general's podium), which shows one of the technical changes in fortification of Joseon Dynasty. As a facility for commands of generals and training for officers and men, it was located inside a fortress. Although it is not certain when the first Jangdae was built, the number of them dramatically increased around 18th century. Since the top priority function of the Jangdae was the prospect, it was installed at the hilly spot with open architecture. In addition, the open structure of Eupseong fortress towers on the riverside banks could simultaneously offer the functions as viewing around and Jangdae. Since Jangdae was also a place for military drills and reviews of soldiers, a wide podium was positioned at the front to muster the soldiers. This feature was standardized in the space organization of Jangdae in Joseon, and a mere podium was installed unless the topographic restrictions allows enough space. On the other hand, as a place for a commander, the hierarchy of the Jangdae was revealed through a variety of architectural characteristics. The hierarchy was assigned to the commander's space through the altitude difference, and diverse ornaments were added to show a sense of class. The floor plan of the Jangdae building can be largely categorized into rectangle and square, and the typical sizes of the former are $5{\times}4$ Kans (traditional measuring unit between two columns) and $3{\times}2$ Kans. Out of these two types, buildings of $5{\times}4$ Kans were found in flat land and eupseong fortresses with large space, and the relatively smaller ones of $3{\times}2$ Kans in mountain fortresses. All buildings of square floor plan had $3{\times}3$ Kans style, and the center Kan was twice wider than the side Kan to make the central space wide. It seems that the purpose was to secure the interior space of the upper story because the center Kan accounts for the floor area of the upper story. Some Jangdae's had internal story to form overhead space. The multi-roofed tower style with eaves attached to the upper and lower story is found exclusively in Jangdae. The buildings shows the Onkanmulim style which extends Naejinju (inner column) of the lower story to be the Byeonju (outer column) of the upper story, and the log-framed floor in the upper floor was structured by inserting the Changbang (connecting beam) between the Naejinju's and joining the log frames. In addition, the towers in eupseong fortresses had log-framed floor in the upper floor by setting up the high Nuhaju (column underneath a roof) and joining Cheongbang to the upper part of the column while it cannot be regarded as multi-roofed because only the upper part has a roof.