• Journal of Environmental Science International
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• v.30 no.10
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• pp.833-844
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• 2021

A well-maintained landscape can increase the competitiveness of a city. Gyeongju which is the famous ancient capital of Korea, has numerous historical resources. However, the disharmony between the historical landscape and the surrounding landscape weakens the competitiveness of the city. At present, most landscape analysis methods mainly focus on plans, photos, and animation, which have certain limitations in the expression of landscape spatial scale and materials. This study aimed to use the virtual walkthrough method to take the Wolseong District of Gyeongju historical areas as the object in order to evaluate the landscape visually. Compared with planar landscape analysis methods, such as photos and videos, the virtual walkthrough method is more immersive and intuitive to experience the spatial scale. The study results revealed images, visual characteristics, and visual influence factors of the landscape, which provide essential data for the construction and improvement of landscapes in similar historical areas in the future.

• Structural Engineering and Mechanics
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• v.40 no.4
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• pp.453-469
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• 2011

A one-story, wooden-frame, intermediate-bay model with Dou-Gon designed according to the Building Standards of the Song Dynasty (A.D.960-1279), was tested on a unidirectional shaking table. The main objectives of this experimental study were to investigate the seismic performance of Chinese historic wooden structure under various base input intensities. El Centro wave (N-S), Taft wave and Lanzhou wave were selected as input excitations. 27 seismic geophones were instrumented to measure the real-time displacement, velocity and acceleration respectively. Dynamic characteristics, failure mode and hysteretic energy dissipation performance of the model are analyzed. Test results indicate that the nature period and damping ratio of the model increase with the increasing magnitude of earthquake excitation. The nature period of the model is within 0.5~0.6 s, the damping ratio is 3~4%. The maximum acceleration dynamic magnification factor is less than 1 and decreases as the input seismic power increases. The frictional slippage of Dou-Gon layers (corbel brackets) between beams and plates dissipates a certain amount of seismic energy, and so does the slippage between posts and plinths. The mortise-tenon joint of the timber frame dissipates most of the seismic energy. Therefore, it plays a significant part in shock absorption and isolation.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.65-72
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• 1999

This paper tried to find out the various symbolic meanings and functions of landscape elements which Capital City of Shilla Dynasty contains, and what is the symbolism and identity of the city. Basically, this research took the thought of the place and the theory of cognition on landscape as a research tool, and undertook the process of surveying the physical surroundings of the city such as mountains, forests, tumuluses, mountain fortress walls, etc. Especially, the study referenced to a myth, thought, and a tale related to them of the surroundings. The research scope in time had been reached to the year of BC 57 which is beginning year of Shilla Dynasty form AC 467 which is year of introduction of new urban block system delivered from Dang Dynasty of ancient China. The results of research showed symbolic meanings of mountains and forests which is surrounding the Shilla capital from 4 directions of east, west, south and north. Namely, it was the places that the king of the kingdom of Shilla decent into the earth from the heaven. Also, the tumuluses which are located on the center of the capital imitated the surrounding mountains in forms, meaned the place that the dead king rised to heaven. All of these symbolized the Capital City of Dynasty as a sacred city which linked the heaven to earth, and earth to heaven. Finally, this paper suggested the Kyongju which is one of the most representative historic and tourist city in Korea should reflect this kind of symbolic meaning of ancient Capital City of Shilla Dynasty in case of arranging the urban identity plan to promote the quality of urban environment of Kyongju.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• Journal of the Korean Wood Science and Technology
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• v.52 no.3
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• pp.276-288
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• 2024

This study was conducted to reproduce the woodworking process of Baekje wooden storage facilities. Green timber of Quercus spp. was processed using ancient woodworking tools, and the tool-trace formed in this process were compared with the tool-trace of actual excavated artifacts. In the tool-trace analysis, the length and shape of the tool-trace were objectively recorded using a 3D Scan, and that were difficult to confirm with photograph were confirmed through stereoscopic microscope. As a result, there were two types of adze's tool-trace. One of them is minute straight Blade-top trace line when trimming the wood surface and the other is Plucked trace that appear when strongly chop at the wood. When a chisel bat was not used, a long and wide continuous shape blade trace was produced. And when the chisel head was struck with the chisel bat, a straight blade-top trace was regularly observed. Saw-trace was identified in several layers with fine straight stripes. Through this, it was found that the tool-trace of the woodworking tools, which is estimated to have been used in each process, and the tool-trace remaining in the Baekje wooden storage facility coincide.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.151-163
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• 1998

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.2
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• pp.95-107
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• 1999

Shamanism is an ancient culture that is also considered as a religious rite by most of people. So, shamanism is an important part of Korean tradition and should be a significant base to the Korean exterior space organization theme. However in the field of Landscape architecture th principle of exterior spacing has not yet clearly been identified as shamanistic. Therefore believe that this study can exhibit a model for the study of shaministic space language and its application to one of Korean's village Namsa. The results of this study are summarized below; 1. Extracted models are Unspecialized· Circular·Coninuous space. These are analyzed on the basis of the shaministic space language. Also shaministic space languages are based with Korean common belief of eternal human identify, circular view of the world. 2. Applying the shamanistic space models to Namsa village shows that shamanistic space models follow the Korean space organization principle. Some area of the village do not apply, because they were built on the structure of the social hierarchy between families or the difference between head households and collateral households. 3. Applying the shamanistic space model to Namsa village shows that the shamanistic space model follows the Korean space organization principle. Therefore can say that Namsa village was built by a shamanistic system that pursued eternal human identity.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.12-19
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• 2005

In contemporary society, Labyrinth and maze are used with the same meaning. They are also used by translating various meanings. But labyrinth and maze are exactly different meaning. The purpose of this study is to inquire about difference for understanding essential meaning between labyrinth and maze. First of all, this study is to grasp composition principles and the characteristics of space through example of labyrinth and maze from ancient to contemporary, prescribe about essential meaning between labyrinth and maze and examine contemporary architecture which is fit for essential meaning. As compositional Principle in labyrinth and maze applied to comtemporary architecture, the labyrinth are centrality, property of one-sideness, determinable space, on the contrary the maze are out of centrality, property of multi-sideness, indeterminable space. Finally, The aim of this paper is analyze exhibition space that suit to the characteristics of composition principle and find the characteristics in labyrinth and maze. Examples of exhibition space are Aldo Van Eyck's 'Sculpture Pavilion', Kazuyo Sejima's '21st Century Museum of Contemporary Art', Ben van berkel's'Museum Het Valkhof'. These research we studied the visitor's circulation and the architectural structure in exhibition space with the spatial characteristics and the compositional principle in labyrinth and maze.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.