• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.29-38
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• 2010

A moat is a pond or waterway paved on the outside of a fortress that is one of the facilities to prevent enemy from approaching the fortress wall or classify it as the boundary space, and this study was undertaken to find out the characteristics of the moat that was existed in the East and the West from ancient time to medieval time with the following result. First, the moat in the East was installed of natural moat and artificial moat at the same time while the moat in the West had the fortress built in naturally advantageous site to use natural most substantially more. Second, the moats of Korea were smaller in scale compared to other countries (Japan, China and the Western countries). Third, the fortresses in the East were built to protect towns or royal palace while the West had the fortress to protect the residence of kings, lords, great wealthy persons and the like, and they were used jointly with the natural moat and artificial moat to defend against the infiltration of enemy. Fourth, the Pungsujiri in the Orient is one of the numerous ideologies forming the supplementary ideologic system of Korean people that could not be denied as the perception that influences on Korean people after the Silla Dynasty, and this Pungsujiri was considered when determining the location of the castle. The moat surrounding the castle had the role to keep the good energy in the castle from escaping away. Fifth, the Ha-Ha technique in the west was designed to prevent the external power from infiltration by digging the ditch on the place applicable to the boundary of the garden site, rather than the fence. While walking around along the water-side path without knowing the existence of this ditch, when the road is discovered with the cut off in the ditch, people had the exclamation without actually recognizing such astonishment. It was originally the dike for military purpose during the medieval time that was designed to look into the garden without physical boundary surrounded with the vertical fence in the garden that by having the deep ditch like shape on the boundary line of the garden which was designed to form the farm by preventing various types of cattle from coming inside the garden and bring in the garden element for farms, forestry, agricultural land and the like.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.105-120
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• 2011

A moat is a pond or waterway paved on the outside of a fortress that is one of the facilities to prevent enemy from approaching the fortress wall or classify it as the boundary space, moats had existed in Europe, Asia and the America from ancient times to medieval times. however it is has been disappeared in modem society. In addition, a moat is a great value in historical and cultural sense such as offering a variety of cultural activities and habitats for animals, but unfortunately there is little consideration of its restoration plan. This research is aimed to investigate historical and cultural meaning and significance of moats which had been existing from ancient times to medieval times in the Eastern and Western. For this purpose, this research analyzed concepts and functions in consideration with times and ideological backgrounds of moats in Korea, China, and Japan. Results were as follows: 1. Moats in Korea existed not only in the castle towns of Goguryeo but also in ancient castle towns of Baekje and Silla. Natural moats and artificial moats existed around castles that were built to prevent and disconnect accessibility of enemies In Goryeo Dynasty and Chosun Dynasty, moats were also used as a defensive function. 2. A moat was generally installed by digging in the ground deep and wide at regular intervals from the ramparts, A moat was installed not only around a castle but also in its interiors. Moats outside castles played an important role in stomping the ground hard besides enhancing its defensive power. In addition, water bodies around a facility often discouraged people's access and walls or fences segregated space physically, but a moat with its open space had an alert and defensive means while pertaining its visual characteristics. 3. The moat found at Nagan Eupseong rumor has it that a village officials' strength was extremely tough due to strong energy of the blue dragon[Dongcheon] in Pungsujiri aspects, so such worries could be eliminated by letting the stream of the blue dragon flow in the form of 'S'. 4. The rampart of the Forbidden City of China is 7.9 meters high, and 3,428 meters long in circumference. It was built with 15 layers of bricks which were tamped down after being mixed with glutinous rice and earth, so it is really solid. The moat of the Forbidden City is 52 meters in width and 6 meters in depth, which surrounds the rampart of the Forbidden City, possibly blocking off enemies' approach. 5. Japan moats functioned as waterways due to their location in cities, further, with the arrangement of leisure facilities nearby, such as boating, fishing from boats, and restaurants, it helped relieve city dwellers' stress and functions as a lively city space. 6. Korean moats are smaller in scale than those of the Forbidden City of China, and Edo, and Osaka castles in Japan, Moats were mostly installed to protect royal palaces or castles in the Eastern Asia whereas moats were installed to protect kings, lords, or properties of wealthy people in the west.

• Archives of design research
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• v.20
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• pp.293-304
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• 1997

The Wiener Werkstatte created the most avangarde textile designs in Europe at the end of the 19th and the beginning of the 20th century. This study is to examine the distinctive characteristics of the textile design of the Wiener Werkstatte. The purpose of this study is to analyze the textile designs of the various designers who had contributed to shape the characteristics of the Wiener Werkstatte at various stages, and to catagorize the designs according to the subject matter, the design sources, the layout, the design principles, and the usages. The textiles of the first half of the Wiener Werkstatte are wovens for the homefurnishings. They were used as upolsteries. Wall coverings, and curtains in the commissioned buildings and houses which Hoffman designed and built in conjunction with the Wiener Werkstatte. The designs of this period have the simple and bold characteristics using less then three colors in a design. The subject matters used in the designs are firstly, stylized animals and plant forms; secondly, the purely geometric forms derived from the architural buildings. The textiles of the latter half of the Wiener Werkstatte put more emphasis on the printed textiles for the women's apparels. The textile designs of this period are categorized into four groups : firstly, the designs that stylized plant forms ; secondly, reinterpretational designs; thirdly, ethnic designs : and fourthly, the geometric art deco designs. The number of colors used in a design range up to 7 colors and all over, stripe, and ogee layouts are used.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.1-17
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• 2016

The purpose of this paper is to understand the value of Dongji(東池), Seoji(西池) and Namji(南池), the lotus ponds of Fortress Wall of Seoul as part of the cultural landscape of the period through a consideration of personal behavior and impressive landscape characteristics via various old writings on each pond. The objects of this study include poems, diaries, travelogues and essays describing these ponds. The results are as follows. First, the preferred landscape elements of these three ponds were lotuses, willows and water itself. Second, while Dongji was recognized as a natural landscape, the composition of Seoji was a mixture of with natural and urban landscapes, and Namji was more urban altogether. Third, in aspects of personal behavior, while Dongji was a place where people broke their journeys to gaze at the scenery or looked down distantly, in Seoji, people stayed for a long time in a pavilion called Cheonyeon-jeong(天然亭) and engaged in various leisure activities, and in Namji, there were many gatherings under a temporary shelter or at a friend's house near the pond. Night was the best time to enjoy Namji because during the day, the area was crowded with people, horses, carts and so on. Fourth, the landscapes of fortress walls were impressively described often. Fifth, because these ponds were integrated into the surrounding area, they were like public openspaces mixed with water spaces, natural environment and adjacent facilities. The lotus ponds of the Fortress Wall of Seoul were located in a place connecting inside and outside of fortress, supplemented the cultural features in city, were valued as public openspace, and made it possible to experience the unique landscape of Hanyang. Although these ponds were buried and have now disappeared, they still hold great cultural meaning and potential value as water landscapes of the old city.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.38-51
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• 2015

In the maps of the period, there were three large ponds called Dongji(東池), Seoji(西池) and Namji(南池) in Hanyang, the capital of Joseon Dynasty. They were different than the ponds found in the palace, civic buildings, and private dwellings. Dongji, Seoji and Namji were ponds relating to Fortress wall of Seoul, and all had lotuses cultivated in them. The purpose of this paper is to clarify the locational and spatial characteristics of these ponds and to detail the construction and reconstruction process and management conditions through maps, drawings, illustrations, historical records and literary works from the urban environmental perspective. The results are as follows. First, Seoji and Namji were intended for Bibo(裨補) which redeemed the geographical weaknesses of Hanyang, securement of bright court water(明堂水), supplement for fire energy(火氣), fire preventive water and waterscape facilities, while Dongji was emphasized on protecting water mouth(水口) besides Bibo and securement of bright court water. Second, Seoji was connected to mountain streams and Dongji and Namji were to ditches. The ponds connected to ditches had been difficult to fill and maintain. Third, Seoji and Namji were in urban areas, whereas Dongji was in farmlands, and these locational differences had an influence on the use of ponds. Fourth, the shapes of ponds, in contrast to the ponds in palace and civic buildings, which were perfectly square, were either freeform or square with rounded edges. Fifth, lotus ponds could be maintained by continuous management polices, earth filling and reconstructing process were repeated during the Joseon Dynasty. The lotus ponds of Fortress Wall of Seoul which had managed over 500 years, were built in, in accordance with the tenets of Bibo pungsu geomancy; however as time passed, they were maintained not only as public open spaces, but also a cultural attraction for residents and visitors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of Chest Surgery
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• v.30 no.11
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• pp.1077-1082
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• 1997

To assess the early results, risk factors and optimal timing for coronary artery bypass graft surgery(CABG) after an acute myocardial infarction(AMI), we reviewed our 19 patients who underwent CABG within 30 days after AMI, between June 1994 and October 1996. This study excluded 1 patient whose diagnosis was AMI with ventricular septal rupture. 14 of the patients were male and 5 were female. Their ages ranged from 41 to 77 years(mean age, 60.6$\pm$ 10.4 years), and the amount of time between AMI and CABG ranged from 8 hours to 24 days(mean time, 10.6$\pm$6.4 days). There were 11 anteroseptal infarctions and 8 inferior wall infarctions. 11 patients had trsnsmural infarctions and 8 had subendocardial infarctions. Indications of operations were p imary revascularization and postinfarction angina. Three patients required preoperative intra-aortic balloon pump(IABP) support, and 4 additional patients required IABP to be separated from cardiopulmonary bypass. An average of 3.6 $\pm$ 0.6 vessels per patient were bypassed. The early mortality rate for these 19 patients was 5.3% and late mortality rate was 5.5%, 1-year and 2-year actuarial survival rates were 89.5% Univariate analysis of mortality showed that an ejection fraction less than 30% and intraopretative IABP supports were associated with risk factors(p value=0.018 and 0.015 respectively). Age, sex, time to CABG, emergency operations, types and locations of infarctions were not significant. Although our studies have weak p.oints in that there was only a small number of patients and the lack of long-term results, we could conclude that early myocardial revascularization is relatively safe after AMI for those individuals with an ejection fraction greater than 30%.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.134-146
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• 2011

Gyeokgu is a group ball game transmitted into the Joseon Dynasty period as acquiring a great vogue among the royal palace and people in Goryeo Dynasty after being introduced into the country from China. This research aimed through historical investigation to look into the form in which the Goryeo dynasty's kings enjoyed Gyeokgu game, and the historical-spatial signification and the locational characteristics of Gujeong(the ground where play Gyeokgu) which is the courtyard where Gyeokgu game was held centering around the Goryeo dynasty's palace where Gyeokgu was prosperous most. We researched and analyzed the data for research after extracting the records related to Gyeokgu from three historical data of the true records of the Goryeo Dynasty. Upon investigation, twelve among 34 kings of the past generations were concerned with Gyeokgu in Gyeokgu game participation form, and 46 times were recorded in historical records in total. In the participation form, kings participated personally in 9 times among 46 Gyeokgu games, and viewed games in case of 37 times. Among these kings, the 18th generation king Uijong was recorded most as 17 times(36.9%) in Gyeokgu records. Places where Gyeokgu were held were 25 places in total including royal palace, detached palace, Lu-jeong, Buddhist temple, private residences, markets and streets, other outside of the royal court and so on, and 46 time-Gyeokgu games in total were held in these places. 21 time(45.6%)-Gyeokgu games were held in only 5 detached place among these places. So, detached palace were used most for Gyeokgu games. In particular, Gyeokgu games were held most in Suchanggung palace and Jangwonjeong palace among these detached palaces, and all these things were recorded during the reign of King Uijong. Gyeokgu game which was prevalent by the end of the Goryeo Dynasty showed a progression to a national festival which kings, personally coming into streets or Jeoja(an archaic word for "market"), enjoyed with the crowd.