• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.207-220
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• 2021

Recent advances in new media for sensory experiences keep expanding visual expression methods in installation art such as projection mapping and virtual reality. Artists can create and develop visual expression techniques based on such new media. Projection mapping is a new medium that continues to add various possibilities to visual expression in media art. Under the projection mapping environment, artists can recompose the object or space with the digital content by projecting video onto three-dimensional surfaces in the space. This paper focuses on the process where visual expression with the projection mapping technology leads to viewers' sensory experience. To this end, "reproducibility," "dissemination," "virtuality," and "interactivity" of media were analyzed to describe the meaning and *definition of visual expression. Artworks are considered as an example to study visual expression techniques such as "repetition and overlap," "simulacrum and metaphor," and "displacement and conversion." I applied the analysis and created Domino, a projection mapping artwork, which helps the research on visual expression techniques that can lead to sensory experience the extensibility of visual expression.

• The Journal of Sustainable Design and Educational Environment Research
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• v.22 no.1
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• pp.1-12
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• 2023

With the possibility of preventing crime through environmental design, CPTED guidelines have been introduced and applied to various places. However, although guidelines may be a useful design tool, there are also limitations to referencing it in the early conceptual phase of school architecture. Therefore, the purpose of this study is to examine the concept of "prospect and refuge", which serves as the basis of CPTED, and derives architectural characteristics and application methods based on the concept. For the case study, this research selected six small to medium-scale elementary schools with outstanding creative ideas built within the last 10 years. The results showed that the spatial characteristics of the "prospect" can be achieved by organizing the three-dimensionality of the space, vista prospect, and design attention on circulation areas. The concept of "refuge" was realized through the segmentation of the mass and spatial enclosure. Although the subjects had different social conditions and educational directions in Korea, this study may be used as a theoretical framework for designing a safe school environment.

• Industry Promotion Research
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• v.8 no.2
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• pp.37-43
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• 2023

Sampling In this study, we examined the problems and their improvement plans associated with the reliability management sector in quality management engineer test conducted in Korea. First of all, there seems to be a problem in that the terminology is not unified and some techniques essential for reliability analysis are not included. We also looked at quality and reliability tests performed in foreign countries (especially USA) that Koreans often acquire. In particular, it can be seen that the CRE test almost overlaps with the contents of the reliability management engineer test in Korea. However, while the USA is an open book test, Korea is not, so the problem is that there are too many formulas to memorize on the part of the test takers. In addition, the analysis of the data is done manually without using computer software. If the test were an open book test like the CRE test in USA, it will be a test that can go beyond fragmentary knowledge and check whether test takers have the essential elements in reliability management. Lastly, if we adopt re-certification system through education and work within a certain period of time, as in USA, it will be a qualification test suitable for modern people living in a flood of information.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.130-141
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• 2012

This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• The Journal of the Petrological Society of Korea
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• v.18 no.1
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• pp.19-30
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• 2009

The main fault of Yangsan Fault Zone (YFZ) and Quaternary fault were found in a trench section with NW-SE direction at an entrance of the Sinheung village in the northern Eonyang, Ulsan, Korea. We interpreted the movement history of the southern part of the YFZ from the geometric and kinematic characteristics of basement rock's fault of the YFZ (Sinheung Fault) and Quaternary fault (Quaternary Sinheung Fault) investigated at the trench section. The trench outcrop consists mainly of Cretaceous sedimentary rocks of Hayang Group and volcanic rocks of Yucheon Group which lie in fault contact and Quaternary deposits which unconformably overlie these basement rocks. This study suggests that the movement history of the southern part of the YFZ can be explained at least by two different strike-slip movements, named as D1 and D2 events, and then two different dip-slip movements, named as D3 and D4 events. (1) D1 event: a sinistral strike-slip movement which caused the bedding of sedimentary rocks to be high-angled toward the main fault of the YFZ. (2) D2 event: a dextral strike-slip movement slipped along the high-angled beddings as fault surfaces. The main characteristic structural elements are predominant sub-horizontal slickenlines and sub-vertical fault foliations which show a NNE trend. The event formed the main fault rocks of the YFZ. (3) D3 event: a conjugate reverse-slip movement slipped along fault surfaces which trend (E)NE and moderately dip (S)SE or (N)NW. The slickenlines, which plunge in the dip direction of fault surfaces, overprint the previous sub-horizontal slickenlines. The fault is characterized by S-C fabrics superimposed on the D2 fault gouges, fault surfaces showing ramp and flat geometry, asymmetric and drag folds and collapse structures accompanied with it. The event dispersed the orientation of the main fault surface of the YFZ. (4) D4 event: a Quaternary reverse-slip movement showing a displacement of several centimeters with S-C fabrics on the Quternary deposits. The D4 fault surfaces are developed along the extensions of the D3 fault surfaces of basement rocks, like the other Quaternary faults within the YFZ. This indicates that these faults were formed under the same compression of (N)NW-(S)SE direction.

• Proceedings of the Mineralogical Society of Korea Conference
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• 2003.05a
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• pp.84-85
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• 2003

소백산육괴의 동부에 분포하는 영양-울진지역의 선캠브리아기 변성암류는 평해층, 기성층, 원남층, 평해화강편마암, 하다우백질화강편마암 등으로 구성되어 있다(김옥준 외, 1963). 그러나, 최근 김남훈 외(2001, 2002)은 야외조사연구와 암석학적 및 지구화학적 연구를 통하여 주로 변성화산암류로 기재되었던 기성층은 변성화산암류가 아니라 평해층과 원남층에서 산출되는 화강암질편마암과 각섬암 기원의 변성암류가 연성전단변형을 받아 형성된 압쇄암 내지 초압쇄암으로 되어 있고, 기존의 기성층은 변성화산암류와 같이 성분상으로 구분되는 별개의 층이 아닌 구조적으로 만들어진 연성전단대의 중심부일 가능성을 시사한 바가 있다. 본 연구는 연성전단대의 연장성 및 연성전단대 형성과 관련된 지구조운동의 특성을 파악하고, 중첩된 변형구조들의 선후관계로부터 영양-울진지역 선캠브리아기 변성암류에 대한 변형작용사를 규명하기 위해 기성층의 분포지를 중심으로 이 지역 선캠브리아기 변성암류에 대한 상세한 야외지질조사를 실시하였다. 그 결과, 예천(북후면-평은면)지역을 통과하여 봉화 부근에서 동북동-서남서 방향이 동-서 방향으로 전환하여 장군봉지역까지 연장되는 것으로 알려져 있는 우수 주향 이동성 예천전단대(KIGAM, 1995; 강지훈 외 1997; 강지훈, 2000; 강지훈과 김형식, 2000)는 영양-울진지역까지 연장됨이 확인된다. 또한, 영양-울진지역의 선캠브리아기 변성암류에는 연성전단변형 이전에 적어도 한 번의 습곡작용과 이후에 적어도 두 번의 습곡작용이 인지된다. 각 변형단계별 특징적인 구조요소를 요약하면 다음과 같다. D1 변형: 편마면 내지 편리(S0)가 습곡되어 형성된 F1 습곡은 동-서 방향의 준 수평적인 습곡축을 갖는 뿌리 없는 등사습곡 형태로 인지된다. 양 날개부의 S0 엽리는 F1 습곡축면(S1)으로 완전히 전위된 하나의 엽리(S0-1)로 나타나고, S0-1 엽리는 이 지역의 광역엽리로 인지된다. S0-1 광역엽리는 구성암류의 대상 분포 방향과 유사한 서북서 주향에 북쪽으로 중각 경사하는 집중된 방향성을 보이며 분산되어 나타난다. D2 변형: 변형구조로는 신장선구조, 압쇄구조면, 비대칭습곡 등으로 인지된다. 신장선구조는 S0-1 엽리면상에서 주로 신장된 석영(집합체)과 장석(집합체)들의 정향배열에 의해 정의되고, S0-1 엽리의 주향 방향으로 저각으로 침강하는 집중된 방향성을 보이며 분산되어 나타난다. 신장선구조에 평행하고 S0-1 엽리에 수직한 단면에서는 상부-동쪽-이동의 우수주향 이동성 연성 전단운동감각을 지시하는 구조요소들이 다량 관찰된다. 연성전단변형에 의해 형성된 압쇄구조면은 전단엽리와 압쇄엽리에 각각 해당하는 C면과 S면 등이 인지된다. 전단엽리 C면은 S0-1 광역엽리와 거의 일치하고, 압쇄엽리 S면은 F2 비대칭습곡의 축면엽리와 거의 일치한다. S0-1 엽리를 습곡시키는 F2 비대칭습곡은 S0-1 엽리를 전단면으로 하여 상부-동쪽-이동 전단운동에 의해 형성된 밀착습곡 형태로 인지된다. F2 습곡축은 북동 방향으로 중각 내지 저각 침강하고 F1 습곡축과는 65$^{\circ}$-75$^{\circ}$ 범위의 사이각을 이룬다. F2 습곡축면은 동북동 주향에 북쪽으로 중각으로 경사하고 F1 습곡축면과는 20$^{\circ}$-40$^{\circ}$ 범위의 사이각을 이룬다. D3 변형. S0-1 엽리와 압쇄구조면 등을 습곡시키는 F3 습곡은 준 수평적인 습곡축과 습곡축면을 갖는 개방 횡와습곡의 형태로 인지된다. D4 변형: F4 습곡은 비대칭 공역성 킹크습곡, 공역성 충상단층에 수반되어 나타나는 드래그습곡, 대칭 개방 직림습곡 등의 다양한 습곡 형태로 인지된다. 이들 F4 습곡의 축면엽리는 일반적으로 동-서 주향에 남쪽과 북쪽으로 경사한다. 그 경사각은 비대칭 공역성 킹크습곡(저각), 드래그습곡(중각), 대칭 개방 직립습곡(고각) 순으로 고각을 이룬다. F4 습곡축은 동쪽과 서쪽으로 저각 침강하는 집중된 방향성을 보인다. 공역성 충상단층은 동-서 주향에 남쪽과 북쪽으로 경사하는 단층면과 상부가 북쪽과 남쪽으로 충상하는 운동상을 보인다. 드래그습곡의 축면엽리는 이러한 공역성 충상단층운동의 전단압축방향에 수직으로 발달한다. 이러한 D4 변형구조는 남-북 방향의 압축 지구조 환경하에서 형성된 것으로 고찰된다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.74-100
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• 2022

The purpose of this study was to investigate the characteristics of Chinese seowons and to obtain data based on the characteristics of waterscapes unique to Korean seowons. The conclusion of this study from the results of investigation and analysis of the location, water system, and design characteristics of 10 representative traditional seowons in China including Yuelu Seowon(嶽麓書院) conducted based on literature research and field observation is as follows. The water system of Chinese seowons is dualized into an inner and an outer water system, and in general, two and a maximum of three water bodies are superimposed on the outside. The locations of seowons are classified into five types: Four double-sided round water type sites, three converted face water type sites, one three-sided round water type site, a four-sided round water type, and a waterproofing type(依山傍水型). Therefore, compared to the typical Korean seowon facing water in the front and a mountain in the back(背山面水型), the Chinese seowons showed a highly hydrophilic property. The water shapes of the external water system were meandering(46.0%), mooring(36.0%), and broad and irregular(9.0%). In addition, water conception(水態) were streams(31.8%), rivers(27.3%), springs(13.6%), falls(9.1%), lakes(4.5%) and ponds(4.5%), in that order. As for waterscapes of the water system inside the seowon, there were seven in Akrok Seowon and four in Mansong Seowon, indicating a comparatively higher number of waterscapes. Since the 27 detailed waterscapes in 10 seowons that were the subject of the study were classified into six types including ponds and half-moon ponds, they appeared to be more diverse than the Korean seowon. It is noteworthy that in the interior waterscape of the traditional Chinese seowon, the ritualistic order, where at least one half-moon pond or square pond(方池) was arranged, is well displayed. In particular, the half-moon pond(伴池), which is difficult to find in Korean seowon, was found to be a representative waterscape element, accounting for 42.8%. If the square pond of Nanxi Seowon based on Zhu Xi's poem 「Gwanseoyugam(觀書有感)」 is also treated as a square-shaped half-moon pond, the proportion of half-moon ponds in the waterscape will be as high as 50%. The pond shapes consisted of 28% square, 24% each for free curve and round shape, 20% for semi-moon shape, and 3.8% for mountain stream type. This seems to differ greatly from the square-shaped Korean seowon. On the other hand, there were a total of 10 types of structures related to the waterscape inside the Chinese seowon: 11(26.8%) pavilion and bridge sites, five gate room sites(牌坊: 16.5%), four gate and tower sites(樓, 1.4%), two Jae sites(齋, 6.2%), and one site each(3.1%) of Heon(軒), Sa(祠), Dae(臺), and Gak(閣). In particular, the pavilions inside seowon were classified into three types: landscape pavilion(景觀亭 27.2%), tombstone pavilion(碑亭, 18.2%), and banquet pavilion(宴集亭, 54.5%). In general, it was confirmed that the half-moon pond with a pedestal bridge, and the pavilion were the major components with a high degree of connection that dominate the waterscape inside the Chinese seowon.