• (The)Study of the Eastern Classic
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• no.72
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• pp.365-400
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• 2018

The signs of $G{\bar{a}}nzh{\bar{i}}$(干支: the sexagesimal calendar system) almanac, which marked each year, month, day and time with 60 ordinal number marks made by combining 10 $Ti{\bar{a}}ng{\bar{a}}ns$(天干: the decimal notation to mark date) and 12 $D{\grave{i}}zh{\bar{i}}s$(地支 : the duodecimal notation to mark date), were used not only as the sign of the factors affecting the occurrence of a disease and treatment in the area of traditional oriental medicine, but also as the indicator of prejudging fortunes in different areas of future prediction techniques.(for instance, astrology, the theory of divination based on topography, four pillars of destiny and etc.) While theories of many future predictive technologies with this $G{\bar{a}}nzh{\bar{i}}$(干支) almanac signs as the standard had been established in many ways by Han dynasty, it is difficult to find almanac discussion later on the fundamental theory of 'how it works like that'. As for the method to mark the era of $Ti{\bar{a}}nt{\check{i}}l{\grave{i}}$(天體曆: a calendar made with the sidereal period of Jupiter and the Sun), which determines the name of a year depending on where $Su{\grave{i}}x{\bar{i}}ng$(歲星: Jupiter) is among the '12 positions of zodiac', there are three main ways of $$Su{\grave{i}}x{\bar{i}}ng-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(歲星紀年法: the way to mark an era by the location of Jupiter on the celestial sphere), $$T{\grave{a}}isu{\grave{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$ (太歲紀年法: the way to mark an era by the location facing the location of Jupiter on the celestial sphere) and $$G{\bar{a}}nzh{\bar{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(干支紀年法: the way to mark an era with Ganzhi marks). Regarding $$G{\bar{a}}nzh{\bar{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(干支紀年法), which is actually the same way to mark an era as $$T{\grave{a}}isu{\grave{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(太歲紀年法) with the only difference in the name, there are more than three ways, and one of them has continued to be used in China, Korea and so on since Han dynasty. The name of year of $G{\bar{a}}nzh{\bar{i}}$(干支) this year, 2018, has become $W{\grave{u}}-X{\bar{u}}$(戊戌) just by 'accident'. Therefore, in this discussion, the need to realize this situation was emphasized in different areas of traditional techniques of future prediction in which distinct theories have been established with the $G{\bar{a}}nzh{\bar{i}}$(干支) mark of year, month, day and time. Because of the 1 sidereal period of Jupiter, which is a little bit shorter than 12 years, once about one thousand years, 'the location of Jupiter on the zodiac' and 'the name of a year of 12 $D{\grave{i}}zh{\bar{i}}s$(地支) marks' accord with each other just for about 85 years, and it has been verified that recent dozens of years are the very period. In addition, appropriate methods of observing the the twenty-eight lunar mansions were elucidated. As $G{\bar{a}}nzh{\bar{i}}$(干支) almanac is related to the theoretical foundation of traditional medical practice as well as various techniques of future prediction, in-depth study on the fundamental theory of ancient $Ti{\bar{a}}nt{\check{i}}l{\grave{i}}$(天體曆) cannot be neglected for the succession and development of traditional oriental study and culture, too.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.172-205
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• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Sijohaknonchong
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• v.21
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• pp.77-110
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• 2004

This study is an exploration of a Korean-American writer, Hong-Eun's Mong-yu siga. Hong-Eun immigrated to the United States during the colonial rule of the Japanese government. He was a publisher of The New Korea Times, and contributed various literary works to it. The purpose of this study is to analyze his two Mong-yu sigas published in 1935 and 1947 and elucidate their meanings. Using dream as a primary motif, the intention of Mong-yu mode is to achieve desire which is impossible to reach in reality. While his staying in the United States, Hong-Eun could not return his home country for two reasons, that is, political and financial ones. To return Korea desperately, he wrote sigas by adopting Mong-yu mode. His first attempt was reflected as eight pieces of consecutive poetries titled This Mountain In My Dream, I am Home. This Mountain was published on the 25th of April, 1935 and In My Dream, I am Home was contributed from May the 9th of 1935 to July the fourth of the same year. These works were published in the The New Korea Times' poetry column under the pen name of Donghae-soboo , Representing gasa of the enlightenment era, this poetry depicts historical identity of Chosun dynasty, especially focusing on before and after the 1900s. As a result of it, the poetry sketches the ideology of the Middle Ages. His second attempt was A Country and Hometown written as a form of prelude on the 25th of September, 1947. In addition, A Country in My Dream was published as a form of six pieces of consecutive poetry from October the second to November the sixth of 1947. He chose sijo as a major form of poetry, and the image of the poetry seemed to be the continuation of his first attempt. Confronting the reality of the his own country which is divided, the writer expresses his antagonism toward America and Russia. Although he could eventually return his country later, he rationalized himself by saying that his it is not the ideal place to go. Mong-yu mode is a traditional poetic technique which the intellectuals of the Middle Age used to use as one pattern of allegory. In addition to this, in the period of the enlightenment of Korea, Mong-yu was used to avoid the Japanese censorship and experiment on the diverse ways of writing. In terms of literary history, the significance of Hong-Eun's creation of Mong-yu sigas is that Hong-Eun shares the same intention with Korean intellectuals of the enlightenment period.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.9 no.1
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• pp.188-198
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• 2005

The Goldschmidt iterative algorithm for finding a floating point square root calculated it by performing a fixed number of multiplications. In this paper, a variable latency Goldschmidt's square root algorithm is proposed, that performs multiplications a variable number of times until the error becomes smaller than a given value. To find the square root of a floating point number F, the algorithm repeats the following operations: $R_i=\frac{3-e_r-X_i}{2},\;X_{i+1}=X_i{\times}R^2_i,\;Y_{i+1}=Y_i{\times}R_i,\;i{\in}\{{0,1,2,{\ldots},n-1} }}'$with the initial value is $'\;X_0=Y_0=T^2{\times}F,\;T=\frac{1}{\sqrt {F}}+e_t\;'$. The bits to the right of p fractional bits in intermediate multiplication results are truncated, and this truncation error is less than $'e_r=2^{-p}'$. The value of p is 28 for the single precision floating point, and 58 for the doubel precision floating point. Let $'X_i=1{\pm}e_i'$, there is $'\;X_{i+1}=1-e_{i+1},\;where\;'\;e_{i+1}<\frac{3e^2_i}{4}{\mp}\frac{e^3_i}{4}+4e_{r}'$. If '|X_i-1|<2^{\frac{-p+2}{2}}\;'$ is true, $'\;e_{i+1}<8e_r\;'$ is less than the smallest number which is representable by floating point number. So, $\sqrt{F}$ is approximate to $'\;\frac{Y_{i+1}}{T}\;'$. Since the number of multiplications performed by the proposed algorithm is dependent on the input values, the average number of multiplications per an operation is derived from many reciprocal square root tables ($T=\frac{1}{\sqrt{F}}+e_i$) with varying sizes. The superiority of this algorithm is proved by comparing this average number with the fixed number of multiplications of the conventional algorithm. Since the proposed algorithm only performs the multiplications until the error gets smaller than a given value, it can be used to improve the performance of a square root unit. Also, it can be used to construct optimized approximate reciprocal square root tables. The results of this paper can be applied to many areas that utilize floating point numbers, such as digital signal processing, computer graphics, multimedia, scientific computing, etc.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

• Journal of Intelligence and Information Systems
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• v.21 no.2
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• pp.49-67
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• 2015

Recently, emerging the notion of big data and social media has led us to enter data's big bang. Social networking services are widely used by people around the world, and they have become a part of major communication tools for all ages. Over the last decade, as online social networking sites become increasingly popular, companies tend to focus on advanced social media analysis for their marketing strategies. In addition to social media analysis, companies are mainly concerned about propagating of negative opinions on social networking sites such as Facebook and Twitter, as well as e-commerce sites. The effect of online word of mouth (WOM) such as product rating, product review, and product recommendations is very influential, and negative opinions have significant impact on product sales. This trend has increased researchers' attention to a natural language processing, such as a sentiment analysis. A sentiment analysis, also refers to as an opinion mining, is a process of identifying the polarity of subjective information and has been applied to various research and practical fields. However, there are obstacles lies when Korean language (Hangul) is used in a natural language processing because it is an agglutinative language with rich morphology pose problems. Therefore, there is a lack of Korean natural language processing resources such as a sentiment lexicon, and this has resulted in significant limitations for researchers and practitioners who are considering sentiment analysis. Our study builds a Korean sentiment lexicon with collective intelligence, and provides API (Application Programming Interface) service to open and share a sentiment lexicon data with the public (www.openhangul.com). For the pre-processing, we have created a Korean lexicon database with over 517,178 words and classified them into sentiment and non-sentiment words. In order to classify them, we first identified stop words which often quite likely to play a negative role in sentiment analysis and excluded them from our sentiment scoring. In general, sentiment words are nouns, adjectives, verbs, adverbs as they have sentimental expressions such as positive, neutral, and negative. On the other hands, non-sentiment words are interjection, determiner, numeral, postposition, etc. as they generally have no sentimental expressions. To build a reliable sentiment lexicon, we have adopted a concept of collective intelligence as a model for crowdsourcing. In addition, a concept of folksonomy has been implemented in the process of taxonomy to help collective intelligence. In order to make up for an inherent weakness of folksonomy, we have adopted a majority rule by building a voting system. Participants, as voters were offered three voting options to choose from positivity, negativity, and neutrality, and the voting have been conducted on one of the largest social networking sites for college students in Korea. More than 35,000 votes have been made by college students in Korea, and we keep this voting system open by maintaining the project as a perpetual study. Besides, any change in the sentiment score of words can be an important observation because it enables us to keep track of temporal changes in Korean language as a natural language. Lastly, our study offers a RESTful, JSON based API service through a web platform to make easier support for users such as researchers, companies, and developers. Finally, our study makes important contributions to both research and practice. In terms of research, our Korean sentiment lexicon plays an important role as a resource for Korean natural language processing. In terms of practice, practitioners such as managers and marketers can implement sentiment analysis effectively by using Korean sentiment lexicon we built. Moreover, our study sheds new light on the value of folksonomy by combining collective intelligence, and we also expect to give a new direction and a new start to the development of Korean natural language processing.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.9 no.2
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• pp.380-389
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• 2005

The Goldschmidt iterative algorithm for a floating point divide calculates it by performing a fixed number of multiplications. In this paper, a variable latency Goldschmidt's divide algorithm is proposed, that performs multiplications a variable number of times until the error becomes smaller than a given value. To calculate a floating point divide '$\frac{N}{F}$', multifly '$T=\frac{1}{F}+e_t$' to the denominator and the nominator, then it becomes ’$\frac{TN}{TF}=\frac{N_0}{F_0}$'. And the algorithm repeats the following operations: ’$R_i=(2-e_r-F_i),\;N_{i+1}=N_i{\ast}R_i,\;F_{i+1}=F_i{\ast}R_i$, i$\in${0,1,...n-1}'. The bits to the right of p fractional bits in intermediate multiplication results are truncated, and this truncation error is less than ‘$e_r=2^{-p}$'. The value of p is 29 for the single precision floating point, and 59 for the double precision floating point. Let ’$F_i=1+e_i$', there is $F_{i+1}=1-e_{i+1},\;e_{i+1}',\;where\;e_{i+1}, If '$[F_i-1]<2^{\frac{-p+3}{2}}$ is true, ’$e_{i+1}<16e_r$' is less than the smallest number which is representable by floating point number. So, ‘$N_{i+1}$ is approximate to ‘$\frac{N}{F}$'. Since the number of multiplications performed by the proposed algorithm is dependent on the input values, the average number of multiplications per an operation is derived from many reciprocal tables ($T=\frac{1}{F}+e_t$) with varying sizes. 1'he superiority of this algorithm is proved by comparing this average number with the fixed number of multiplications of the conventional algorithm. Since the proposed algorithm only performs the multiplications until the error gets smaller than a given value, it can be used to improve the performance of a divider. Also, it can be used to construct optimized approximate reciprocal tables. The results of this paper can be applied to many areas that utilize floating point numbers, such as digital signal processing, computer graphics, multimedia, scientific computing, etc

• Cartoon and Animation Studies
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• s.50
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• pp.423-452
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• 2018

The possibility of future industrialization of artificial intelligence was studied through aspects of artificial intelligence art and movie. The field of artificial intelligence is developing by imitating humans through past and present, so it can be inferred that it is important to grasp the future image presented in movie and artificial intelligence art. Human values are represented differently in artificial intelligence films and arts. Artificial intelligence film and art are concerned with the external and internal aspects of human values, respectively. The AI movie looks at similar external aspects in human and AI shape and function, but artificial intelligence art deals with human alienation and lack of communication due to artificial intelligence technology development. Artificial intelligence in movies is a direction to visualize the imagination for artificial intelligence technology, and artificial intelligence art is expressed in the way of making and implementing works using technology. The future of artificial intelligence, which we have shown in imagination in movies today, is being realized technologically. Artificial intelligence art reflects the problems of artificial intelligence technology that can be appeared through current technology, and human problems that may arise from artificial intelligence technology development. Movies and artificial intelligence art reflect the current problems, and through them we can see the future of artificial intelligence. The future of artificial intelligence in movies is an artificial intelligence service that provides human convenience, cyborg artificial intelligence industry, industry that uses exoskeleton robot and exoskeleton suit, and artificial intelligence secretary. If we look at the future of artificial intelligence through the artificial intelligence art in terms of the problems of artificial intelligence technology and the problem of human value, there are artificial intelligence to learn from trial and error or mistakes, self-expression and communication by lifelogging, recovery of miscommunications by a reflective thinking, and an expansion of the area of artificial intelligence artist through human uncertainty. The future industrialization potential of artificial intelligence as study through aspects of artificial intelligence art and movie is an industry that extends the five senses, an industry that improves the insufficient physical ability of the human, an industry that enhances the physical ability of the human being, and an industry that maintains psychological and mental well-being.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.