• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.83-91
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• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean housing association
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• v.16 no.6
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• pp.101-109
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• 2005

As a circumstantial-existance character (the human character who takes action after grasping circumstances and fears things with reason) the Japanese were more interested in the active doctrines of Wang Yang-ming than other speculative studies. All of people were inhumanely incorporated into the rigorous class system under pressure in the samurai society. In the atmosphere of the society a natural phenomenon was understood as the ksana of change, and instead of the whole, the part was mainly described with emphasis on the reality. Therefore nature came near to the man after being reduced and then was symbolized in the Interior space. Also the classification of spaces, that is to say, the settlement of borders by the social position was shown in the great interior space like a labyrinth. As a self-existance character(the human style who carves out for and does not have a regard other's feeling), however, the Korean were much influenced by the Taoist Idea as they tried to be similar to nature in nature itself. Therefore the idea of Asaniskrota was in their origin. There was a tendency for space to be extended toward the outdoor in Korea, since the Korean people who are speculative and like to be natural tried to be close to nature. Therefore the division of spaces according to class and sexuality and the settlement of borders were already shown in outside by Che-Na-Num(Divided-Mass:Koren's own style). These are closely related with that houses were built after a village settle down in Korea while built before a village settle down in Japan. Architectural space consists of the interior and the exterior. The layout and (on of architectural space has a great variety of characters by region and culture. In other words, it can be understood which has a priority between the interior and the exterior in developing the layout and the form of architectural space. Belonging to the culture area of Chinese characters with Korea, Japan has maintained its own Identity. It has an identity in the layout and form of architectural space as well. Therefore, the architecture and architectural theories of the two countries were compared and analyzed with priority given to the traditional architecture, also the backgrounds of architecture and architectural theories of two countries were examined in this study. This study shows that each country has different characters in how to introduce nature, how to expand space and how to compose windows, including the view of nature and the cult of space. As a result, the space in Korean architecture has relatively the exterior-oriented character but in Japan architecture spatial character is interior-oriented. The interior-oriented character can be relevant to the word 'reduction' and the exterior-oriented character to 'extension' after all. Also it can be thought that each character has a great relation with climate and idea of people in power.

• Journal of architectural history
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• v.28 no.4
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• pp.17-26
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• 2019

After opening Suwon railway station in 1905, a new road was constructed between Suwon station and Paldalmun(the South gate). It was the starting point to change urban structures of Suwon and shape the new city scape. In 1914, administrative districts of Suwon were reorganized. Suwon-myeon (township, a subdivision of Suwon-gun) was promoted to Suwon-eup(town) in 1931. Suwon-eup expanded its territory and changed the address system from 'li(里)' system to Japanese address system, 'Jeong(町)' in 1936. From 1920s, road system was changed and transformed Suwon's urban structures. A straight road was built from Jongro intersection to Janganmun(the north gate) in 1928. Another straight road was constructed between Suwon station to Padamun in the early 1930s. Public office buildings used the Hwa Seong HaengGung(華城行宮) and some of building moved to new location with new buildings. Main buildings of most schools in Suwon were reconstructed since 1930s. Commercial buildings and stores were sprung up and had their own characteristics by region. Around Suwon station, there are more hotels and restaurants than other areas. Rearranging administrative areas, developing road system and new buildings transformed Suwon's spatial structures. Constructing new roads formed a straight road passing through Suwon. After reorganizing administrative areas, this road turned to be the central axis of Suwon. Buildings in new style on the axis made the modern cityscape in Suwon.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.82-98
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• 2016

Korea and Japan have a cultural homogeneity because they were affected by China. However, each country has developed its own original culture due to their own national characteristic and endemism, In traditional clothing, though Korea and Japan share the same origin, they have developed their own form, Hanbok and Kimono, which have completely different looks. The differences in the traditional clothing is the result of the differences in each country's aesthetic sense, which is reflects in the artwork of those days. Ink-and-wash painting was the typical painting form in East Asia, so Korean and Japanese ink-and-wash painting from that period can be used to observe the differences in the aesthetic sense. This study aims to search for commonly shared aesthetic sense in the design process of Hanbok and Kimono by analyzing the styles of a representative Korean painting, "Sehando(Wintry Days)" and a representative Japanese painting, "Pine Trees Screen". H. Wolfflin's methodology influenced not only painting, but also architecture and sculpture. Therefore, this theory can be applied to clothing, which can be considered a type of sculpture. Modernization of traditional clothing has to start by analyzing the aesthetic sense of artisans that have affected the design of traditional clothing. To spread Hanbok globally and differentiate it from Japanese clothing, we have to acknowledge the differences between Korean and Japanese aesthetic sense, and based on this, we have to develop the design of Hanbok.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.10-17
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• 2005

This Study is concerned with the acceptance of Western timber structure and the interior space of church buildings in the early modern period in Korea. Timber roofs have represented a wide variety of constructional forms and have been fundamental to any technological appraisal of the evolution of both of Western and Eastern architecture. Especially the roof structure of the church buildings reflects the technological level, aesthetic sense, and spacial concepts of the age. Between Western timber structure and Korean timber structure, there are many differences in not only structural form but also form of roof, members, load, frame system and etc. And there were various types of framing technique such as timber truss, timber arch, timber vault in the western style church architecture in the early modern period in Korea. I have summarized the character of the acceptance process of Western timber structure and the influences on the interior space of church buildings.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.1
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• pp.15-22
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• 2018

Raymond, who adopted Le Corbusier's Errazuris House Project, built Karuizawa Villa by incorporating Japan's aspiration for Western modern architecture and strong convictions regarding the preservation of traditional culture heritage, which were prevalent in Japan at the time. Despite the controversy over his plagiarism, Karuizawa Villa shows several unique architectural characteristics. First, in terms of the arrangement and access system, the villa has a common space that affords a view of the lake by accessing from the mountain side. Second, in terms of spatial composition, the common space is connected to the mesonnette by placing a trail to enable enjoyment of natural scenery. In particular, personal space is planned in the shape of a cross by connecting several surfaces to the outside in order to secure enjoyment of the natural environment. Lastly, in the aspect of structure and materials, both architectural buildings adopted masonry by using natural stone as well as building materials suitable for each region and climate by using logs in constructing the main columns and beams. Through Karuizawa Villa, Raymond is considered to have established his own style by combining the standard of Western modern architecture and the elements of Japanese traditional architecture while valuing local architectural technology.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.17-24
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• 2023

Seokgojeon(石鼓殿) is a protective pavilion that protects stone drums made in 1902 during the Korean Empire in connection with Emperor Gojong's Mangyuksun (51'st birthday) and the commemoration of the 40th anniversary of his reign. During the Japanese colonial period, Seokgojeon was dismantled and transformed into the bell pavilion of Bakmunsa Temple, which was a memorial temple for Ito Hirobumi in 1935. In November 1945, just after liberation, Bakmunsa Temple was burned down, and the Seokgojeon Hall, which was transformed into Jonggak(鐘閣), was relocated to the Changgyeongwon(昌慶苑). Outdoor Stage in 1966, and was dismantled in 1984 due to the Changgyeonggung(昌慶宮) Palace restoration project, and only the members are currently stored. Therefore, this paper intends to use it as a basic research data to examine the style of monumental buildings during the Korean Empire through literature surveys, absence surveys, and case studies of similar buildings during the same period.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.