• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.359-360
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• 2014

관광산업은 지역발전전략에서 최우선과제로 꼽히고 있다. 전주시의 경우 한옥마을이 크게 성공했지만 최근 한옥마을 위기설 등 많은 관광객의 방문에 따른 부작용이 심각하다. 따라서 지역관광산업의 활성화를 지속하기 위해서는 새로운 관광콘텐츠의 개발이 필요하다.이를 위한 방법론으로 먼저 최근 문화관광트렌드와 문화관광수요의 변화요인을 살펴보고 이러한 변화요인으로부터 전주시 문화관광콘텐츠 기획을 위한 검토요인들을 도출하였다. 그리고 이러한 검토요인에 따라 새로운 문화관광콘텐츠를 기획하기 위해서는 어떤 전략이 필요한지를 제안하였다.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.68-78
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• 2015

The servicescape of a design hotel means the physical environment in which a service is produced and consumed. Servicescape refers to the comprehensive physical environment perceived by users and is composed of physical elements such as ambient conditions, space, function, signs, symbols and artifacts. For a successful operation of a design hotel, it is necessary to investigate the design hotel's servicescape types according to characteristics of design hotel's servicescape to provide various servicescape. The purpose of this study is to classify the types of servicescape on design hotel and analyze characteristics through the case study. A case study on Europe's design hotels to find various servicescape design methods was conducted. According to characteristics of design hotel the types, it is also categorized into four different types: history/tradition, art/culture, collaboration, locality. The case study demonstrated that European design hotels were making many efforts for their uniqueness and differentiation by considering the cultural and historical characteristics of their city and providing art and cultural space for their community. Design hotels in Korea should not only provide visitors with opportunities to have special experience through the nation's own culture and history but also serve as a place of community activities.

• Journal of Agricultural Extension & Community Development
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• v.8 no.2
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• pp.285-298
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• 2001

Rural youth welfare was defined to provide the preventive services as well as the protective and curative services such as education, job training, youth activity, delinquency prevention, etc. for rural youth who live in rural society, including who go out to metropolitan city for study. Based on this concept, the rural youth related facilities and problems were investigated in the area of education, culture and leisure, career, and problematic behavior. The results were identified that the efforts of government and rural related institutions were in sufficient to establish and improve the facilities for rural youth, and the gap between rural and urban youth facilities was extended increasingly, in spite of seriousness of those rural youth problems. Some of policies and programs were proposed in order to improve rural youth welfare; 1) To establish at least one activity facility in every Eup ; 2) To convert the public culture facilities such as museums, fine art museums, exhibition facilities, etc. into the culture and art facilities for rural youth; 3) To establish rural youth job information center in the agricultural technology and extension center; 4) To convert school to rural youth education and cultural center; 5) To establish the comprehensive welfare facilities for rural youth in metropolitan city.

• Cross-Cultural Studies
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• v.29
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• pp.133-152
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• 2012

Franciso Ayala's narrative work was published in the collection "Nova novorum" (1926-1929) of Revista de Occidente, founded by $Jos{\acute{e}}$ Ortega y Gasset. The author of Cazador en el alba was well aware of the avant-garde aesthetics and hence he put into practice an artistic rupture of the traditional narrative forms of Realism. The work consists of two short stories: "Cazador en el alba" and "Erika ante el invierno". The use of metaphor, Francisco Ayala's preferred literary device (which Ortega y Gasset already emphasized in The Dehumanization of Art), reveals the influence of $Ram{\acute{o}}n$ $G{\acute{o}}mez$ de la Serna's Aphorisms. Through a metaphoric language, "Cazador en el alba" describes the life of Antonio, a soldier and peasant, who visits Madrid and confronts the urban reality of the metropolis. "Erika ante el invierno" portrays with a singular depth the solitude of a woman living in another metropolis, Berlin. The author confessed that he wrote both short stories influenced by the European avant-garde and its use of poetic imagery and metaphor, common practice at that time. However, the main purpose of this article is to reflect upon the society of the first decades of the $20^{th}$ Century: the city, the people and their lives, the societal changes, as well as the innovative perspective of the new art.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.47-54
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• 2006

Stages, in the theatrical spaces, were space, which incorporates aspects of cities. Hence, the stages have been constituted to materialize sequence of city, which has exact number, proportion and order of ideal city. In addition, it has accomplished change, which depends on type of performance with the social condition and culture of generation, city has. However, the original form of theatrical space were forgotten on account of the various changes of theatrical form with modem movement since the end of 19th century, and theatrical space, which does not relate with its space of city, was started to constitute. Particularly in contemporary society, the theatre can give vitality to the citizens, and also theatrical architecture as a commercial code has been a general form, though it takes important role, which improves cultural value with technical improvement of cities development of society. Thus, this study analyzed urbanity ,which theatres have incorporated historically, and deduced a correlativity from to be based on constitution of space in visual, perceptual, spatial constitution and functional role. Focused on published SPAC international competition, it was interpreted by contemporary focus, therefore, this experiment suggests constitution of theatrical spaces of information, takes urbanity, through to analyze visual, perceptual, spatial constitution and functional role in context of contemporary city.

• Journal of Multimedia Information System
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• v.4 no.2
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• pp.83-88
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• 2017

The era of the fourth industrial revolution, which will bring about a great wave of change in the 21st century, is the age of super-connection that links humans to humans, objects to objects, and humans to objects. In the smart city and the smart space which are evolving further, emotional engineering is a field of interdisciplinary researches that still attract attention with the development of technology. This paper proposes an emotional object prototype as a possibility of emotional interaction in the relation between human and object. By suggesting emotional objects that produce color changes and movements through the emotional interactions between humans and objects against the current social issue-loneliness of modern people, we have approached the influence of our lives in the relation with objects. It is expected that emotional objects that are approached from the fundamental view will be able to be in our lives as a viable cultural intermediary in our future living space.

• Korea Science and Art Forum
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• v.22
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• pp.393-402
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• 2015

This study investigated Seoul's image as a tourism destination that Chinese tourists perceived, taking advantage of Chinese Social Media "Renren". The study used visual method (V-method) to collect images and analyzed them in terms of convergent disciplinary approach. It searched Chinese word, "首爾", in Renren social network. 526 Seoul's photos were collected from 129 users' mini-homepage. Destination planners and marketers should understand how the Chinese tourists perceive the Seoul's image and recognize the contribution factors to representations of the city. It is recommended that more cultural experience should be offered to Chinese tourists.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Korea Science and Art Forum
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• v.19
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• pp.243-257
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• 2015

The Cultural Heritage Administration has selected Seoul Fortress Wall as the representative heritage of Korea to be applied for being registered as UNESCO World Heritage and announced the plan to restore and organize it, which has increased the interest to the Seoul Fortress Wall, the Historical Site No. 10. The great work to make the heritage value of Walls, 4 Big Gates and 4 Small Gates composing the Seoul Fortress wall with the length of 18.627 km to be recognized worldwide has limits if it is focused only on the physical restoration. It is because the Seoul Fortress Wall represents the long historical and cultural value as the space of life which connects closely the capital city and its vicinity. We need the plan to discover and utilize historical and cultural contents of Seoul Fortress Wall and its vicinity. Especially, Gwangheemun, which is one of the four Small Gates of Seoul Fortress Wall, is a precious cultural heritage which represents the transition of fortification technology of Chosun period as the space representing ordinary people. However, now Gwangheemun and its vicinity does not stand out the charm because of passive accessibility, landscape falling behind and absence of program. This made the lack of domestic and overseas tourists and the convenient space and various contents. This reality is because the value of space has been considered simply as a cultural heritage without considering the traditional, historical and cultural specificity. Therefore, this study is aimed to find the meaning and value of Gwangheemun by discovering its own latent intangible cultural, historical and artistic resource, and to find the way to connect with Gwangheemun, the existing tangible traditional architectural space and the way of vitalizing Gwangheemun as a new space.