• Journal of the Korean association of regional geographers
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• v.17 no.6
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• pp.698-709
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• 2011

Wedding shops, which had been located in Jung-gu, Jongno-gu, Seodaemun-gu, and Mapo-gu in 1990, have been shown a rapid change in light of location since the year of 1995. Thus, most of shops are concentrated on Gangnam-gu in 2010. Wedding dress shops in Gangnam-gu were distributed between Kanglim Church and Apgujeong station in the early 1990s, and then moved gradually to Dosan park and then to Cheongdam-dong after passing through Hakdong intersection. Luxury image in Cheongdam-dong was the main reason for integration of wedding businesses. This intergration of shops showed the peak at the Cheongdam intersection. A motive of having come to start business in Cheongdam-dong was selected the high awareness and image in district, and was taken the ease for business-based cooperation and connection. High rent and inconvenient transportation were reasons for dissatisfaction. The business-based cooperation and connection were mostly formed through a consulting company. Level and reputation of relevant shops were important elements. Even the connective and associative shops are located the most in Cheongdam-dong followed by Nonhyeon-dong, Shinsa Apgujeong-dong in order. The cluster relationship was most noticeable in wedding studio, wedding dress, wedding consulting, and hanbok(Korean traditional clothes) business. Frequency of vertical cluster was indicated to be more than horizontal cluster. User behavior of wedding businesses in Seoul has been collecting wedding information through internet and wedding consulting business.

• The Optical Journal
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• s.174
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• pp.12-15
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• 2019

한국광학기기산업협회(회장 정진호)가 지난 3월 13일 서울 청담동 리베라호텔에서 제32회 정기총회 및 한국광학산업기술연구조합 총회를 개최했다.

• Journal of the Korea Construction Safety Engineering Association
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• s.47
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• pp.30-35
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• 2008

우연히 지나치다 감동을 받게 되는 것과 감동을 사전에 준비하고 마주한 것과의 차이는 어떤 것일까? 인사동 사간동 청담동이 예술가 수집가들끼리의 닫힌 공간이라면 태백의 철암은 일반인과 지역주민 등 예술가들에 길들여지지 않은 눈을 가진 사람들을 위한 열린 공간 이라고 할 수 있다. 폐(廢) 탄광촌 철암역을 예술마을로 재탄생시키고 있는 사람들이 있다. 그들은 바로 '할아텍' 사람들 작가들은 길들여지지 않은 일들을 통해 힘을 얻고, 작품은 이들의 새로운 생명력을 안고 태어나고 있다.

• Magazine of the Korea Institute for Structural Maintenance and Inspection
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• v.17 no.2
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• pp.88-100
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• 2013

• Korean Architects
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• no.12 s.248
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• pp.9-21
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• 1989

• 월간 기계설비
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• s.298
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• pp.46-50
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• 2015

기계설비산업의 지속 가능한 성장을 위해 대한설비건설협회(회장 이상일)와 대한설비건설공제조합(이사장 김기석)이 공동으로 설립한 대한기계설비산업연구원(원장 이언구)이 지난 3월 17일 개원식을 하고 본격적인 항해를 시작했다. 초대 연구원장으로 선임된 이언구 전 중앙대학교 교수가 선장이며, 연구원은 서울시 강남구 청담동 설비건설회관 1층에 보금자리를 마련했다. 본지는 이언구 원장으로부터 연구원 운영에 대한 전반적인 생각을 들었다.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Journal of the Korean housing association
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• v.13 no.6
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• pp.31-39
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• 2002

The purpose of this study is to examine the exterior remodeling examples of urban houses which have been changed to be mixed-use buildings with commercial use, and to guide the future exterior remodeling. Some of the research results are as follows: 1) Exterior remodeling of commercialized urban detached houses is focused on two-dimensional changes of exterior surface, rather than on three-dimensional changes of mass or shape. 2) Unlike commercial buildings generally relying on signboards to express their commercial nature, the exterior-renovated houses with commercial uses mainly rely on the image of whole building shape based on exterior materials and colors. 3) Installations of free-standing walls and double skins are preferred as exterior remodeling techniques, due to the structural limitation of exterior walls.

• The Korean Journal of Ecology
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• v.22 no.5
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• pp.277-285
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• 1999

To develop a better restoration technique for altering urban planted forest to more natural forest, the changes of flora, vegetation structure and woody plant growth in the early stage after lumbering only Populus albaglandulosa of the tree layer were studied in Chungdam Park, Chungdam-dong, Kangnam-gu, Seoul for two years (from 1997 to 1998). The results were as follow. First, in the year after lumbering, the species changes occurred not in woody plants but in herbs, which increased by 44%. Three species including Viola verecunda disappeared, and 15 species including ruderals such as Metaplexis japonica and introduced species such as Erechtites hieracifolia appeared newly. Second, lumbering caused the coverages of Quercus aliena, Q. mongolica, Q. acutissima and Sorbus alnifolia in the subtree, or shrub layer, to be increased abruptly. The coverage of Lespedeza bicolor was affected by neighboring plants. Third, in the herb layer the coverage of Artemisia keiskeana was conspicuously increased but those of the others were not. Fourth, by ridding the upper layer canopy, Quercus' growth rates were increased highly. Rates of DBH growth of Q. aliena, Q. mongolica and Q. dentata were increased to 53.0%, 22.9% and 8% in the experimental area, and 23.1%, 8.3% and 6.1% in the control area, respectively, during two growing seasons (from May 11, 1997 to October 27, 1998). The ratios of twig biomasses of the previous year to the next year were 100:565 in Q. aliena, 100:197 in Q. mongolica and 100:644 in Q. dentata in the experimental area. There were also growth ratios of 100:117 in Q. aliena, 100:100 in Q. mongolica and 100:42 in Q. dentata in the control area, respectively. The growth rate increases of Q. aliena and Q. dentata were thus conspicuous in twig rather than in trunk, but that of Q. mongolica was vice versa.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.442-458
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• 2008

This paper aims to examine the ways in which project-based organizations (PBOs) are embedded in social networks and geographical clustering in the case of TV drama industry. PBOs refer to a variety of temporary organizational forms for the performance of tasks as to integrate diverse and specialized intellectual resources. PEOs as a flexible and innovative mode of organizing knowledge resources are becoming increasingly worthy of attention in emerging the creative economy. Evidence from interviews with core persons of PEOs like producers, directors, and writers reveals that the key operational mechanism of the project form of organization is based on the highly socialized networks via individual's reputation and past experiences. In other words, the project activity in TV drama is embedded in networks which are socially constructed. Also the geographical clustering plays an important role in PBOs and project practices in TV drama are constructed around a high degree of spatial clustering. PBOs are clustering in Kang-nam and Yeouido, where are located in independent production companies and broadcasting stations. It means that the project formation in TV drama requires geographically-clustered networks of human resources, and socially, culturally and geographically embedded latent networks of interpersonal relationships are a necessary condition of POBs in the TV drama industry.