• The Journal of the Korea Contents Association
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• v.13 no.4
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• pp.418-426
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• 2013

This study aims to analyze the formativeness of zzaim (traditional craft techniques to combine two or more materials to make an angle or to weave them to make a slope side) and systematically classified these techniques to help furniture manufacturers effectively utilize them in the design of contemporary furniture. From this data, furniture manufacturers can have benefits to understand which type of zzaim techniques will be appropriate to their plan of building furniture, and practically use relevant techniques in the field. This study classified four different applications of zzaim techniques depending on sites, such as (1) the top, (2) middle body, (3) lower body, and (4) legs of furniture. In summary, zzaim techniques are differently applied depending on the application sites and formative types of furniture. This feature makes general furniture manufacturers who want to apply zzaim techniques for the first time have hard time to understand which kind of technique should be applied to which part. Recognizing this problem, this study expects general manufacturers as well as master artisans to more effectively utilize zzaim techniques by providing the systematic data on the formative analysis of types of furniture and application sites.

• Science of Emotion and Sensibility
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• v.13 no.4
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• pp.677-686
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• 2010

This study intends to provide the data to extract the elements that influence users' preference from "setting-up," a Traditional craft skills, and apply it to design and use it, so as succeed to the traditional values by connecting the Traditional craft skills with design and to establish a design-supporting system that can meet contemporary users' desire. In this light, this study, as a basic research, selects a sense of beauty and functional quality as a standard for applying setting-up to design and conducts an experiment to extract the elements of design that are important in setting-up. An analysis of factors based on the experiment reveals that in terms of a sense of beauty and functional quality, typical quality, creativity, historicalness, productivity, safeness are derived as elements that influence setting-up. And an analysis of meaningfulness tells that each element of Panjac Setting-up and Yeongui Setting-up is the most meaningful. This result shows that it is important to know the relationship with elements extracted as emotional elements, which can be useful as an index for establishing a design-supporting system that can serve as a guideline in designing through applying to design.

• 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.

• Sijohaknonchong
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• v.21
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• pp.5-22
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• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.

• Sijohaknonchong
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• v.21
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• pp.143-164
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• 2004

The purpose of this study is to clarify that 'Kanghosasiga' is the Ynsijo which has general unification of the content and having general unification is based. on the using one definite frame. although 'Kanghosasiga' used different subject matters that have characteristics of four season in forming one theme. The definite frame is divided into two frames, inner frame and outer frame. Outer frame is common in four works, and it represents the place in which the speaker lives(강호), speaker (이몸), relationship between speaker and the king(군은), the condition of 'kangho' and speaker. And in this paper, the generative condition of phrases is so analyzed that the compression and the simplicity of expression are explained, and the purpose of generative phrases is so analyzed that satisfaction at life is represented. It is considered if it is possible to extended to '태평성대(the happy era)' in the social view. Inner frame is the detail structure of content of the work. Each of the first, second, third of the verses of four works have common structure. After analyzing each content, the characteristic of 'Kanghosasiga' was explained. The first of verses of 'Kanghosasiga' represent gusto of the four season. The second is constructed with 'the clause that functions as instruction' because 'speaker' that is the words that functions as index, and represents in detail gusto of the first. The third is connotative expression connected with the second. The third implies purpose that the writer try to gain private living with formal viewpoint. The structure of the inner frame of 'Kanghosasiga' shows a process; 'introducing season' $\to$ 'gusto about season' $\to$ 'enjoying with season' $\to$ 'peace in mind'. The first of verses of 'Kanghosasiga' is the clue of the second. The second is the reaction of the first. The third has character as estimation of the forepart. The structure of the outer frame can be shown if the structure of the inner frame has '감군은‘(being grateful to king's grace). ultimate purpose of the writer is to praise king's administration.

• Conservation Science in Museum
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• v.24
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• pp.75-80
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• 2020

X-ray computed tomography (X-ray CT), which is often applied to the investigation of the interior structures of cultural properties, is very useful for studying production methods used in lacquerware that would otherwise be difficult to observe with the naked eye. Lacquerware inlaid with mother-of-pearl is an important subject in the study of traditional Korean craft. However, it can be a challenge to specify the production methods used in the framework of a lacquerware item unless the object has been structurally damaged. Studies of lacquerware inlaid with mother-of-pearl have thus far focused on the techniques of lacquering and of inlaying the mother-of-pearl. Production methods for the framework of lacquerware has received little academic attention. This study conducted X-ray CT on a lacquerware item from the Joseon period to reveal the materials and woodworking techniques used for the framework. The study revealed that softwood was used for the framework, and the post (gidungmok) and apron (soemok) were joined using a three-way miter joint (sambang yeongwi jjaim). Other pieces were joined with nails.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Korean Journal of Environment and Ecology
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• v.26 no.6
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• pp.941-951
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• 2012

The changes of forest habitats and maeulsoops(village forests) in Jinan-gun, Jeollabuk-do, South Korea are examined using landscape indices and morphological pattern analysis, and their landscape-ecological implications on conserving biological diversity are presented. We used FRAGSTATS and GUIDOS software, as well as land cover maps(of 1989 and 2006) to analyze the spatial and temporal patterns of habitat composition and configuration in surrounding landscapes of 34 representative maeulsoops and Jinan-gun. The results showed decreases in the amount of core habitats and corridors and habitat connectivity at a regional scale since 1989. In addition, multi-scale habitat analysis at a focal scale revealed that the structural and functional connectivity between forest habitats surrounding maeulsoops of the year 2006 was lower than that of the year 1989. In order to reduce forest fragmentation and to enhance the connectivity among habitats, it is necessary to provide the additional habitat corridors as well as preserving existing corridors and surrounding landscapes of maeulsoops. We also suggest that a combination of landscape indices and morphological spatial pattern analysis can provide an effective tool to assess the habitat functions and configuration in a rapidly changing landscape.

• The Korean Journal of Quaternary Research
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• v.17 no.1
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• pp.17-26
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• 2003

A hierarchy is defined as a system wherein its parts are interconnected with one another and the lower levels are constrained by the higher levels to various degrees, depending on the time constraints of the behavior. We illustrate that the concept of hierarchy is identified in the Baekdoodaegan frame, and that the Korean national area was hierarchically divided into many watersheds in many old maps. The Baekdoodaegan and Jeongmack were consistent with the hierarchy of climatic as well as spatial variables. It is evident from an old map that the concept was coined as early as in 1402. A typical configuration of Korean landscape, which was developed in the arrangement of village and surrounding landscape elements situated in a watershed, may be associated with the hierarchical approach to land and culture. Although current practices based on the concept are meaningful, further diverse studies are needed to improve ideas.