• Korean Journal of Heritage: History & Science
• /
• v.42 no.1
• /
• pp.100-121
• /
• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.226-256
• /
• 2023

Gyeongju has been the capital of Silla Kingdom for about 1,000 years, and many cultural heritages of the Silla period, such as the Wolseong Palace Site, Daereungwon Ancient Tomb Complex and Donggung Palace and Wolji Pond, are located in the city. Due to these characteristics, the process of heritagization has been carried out in Gyeongju from the Japanese colonial era to after liberation. Heritagization means selecting things from the past due to the needs of the present and making them heritages. In the case of South Korea, national government-led heritagization was achieved during the Japanese colonial period, and after liberation because of the restoration of national culture and the construction of a national identity. Gyeongju is a representative example. On the other hand, Gyeongju's heritagization process was carried out with little consideration of the local community, and thus the local community and Gyeongju's heritage have been distancing. In 2002, Gyeongju's heritage sites were nominated as World Heritage Sites. With the nomination, the perception of the role of local communities in heritage has been changed, and institutional mechanisms to promote the participation of local communities have been continuously reorganized. However, Gyeongju's heritagization process, which was thoroughly conducted through the central government and expert groups, was the reason why Gyeongju residents actually thought Gyeongju's heritage and the locality of Gyeongju were formed through the central government and expert groups. This has been the result of Gyeongju residents' passive participation in heritagization or heritage management to date. This study analyzed the heritagization process of Gyeongju through literature research and conducted an interview survey of residents who have lived in Gyeongju for a long time to understand the impact of the institutional heritagization process on residents and the relationship with heritage. Based on the analysis results, it was suggested that local residents and communities could take the initiative in managing the heritage of Gyeongju.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.2
• /
• pp.27-36
• /
• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.28 no.12 s.138
• /
• pp.1644-1654
• /
• 2004

As globalization has been accelerating in recent years, more people have opportunities to live abroad for an extended period of time, which is known to have strong influence on consumers. The main purposes of this study were to examine if and how sojourning experience could bring changes to people in general and in clothing styles with focus on Korean adults. The researchers conducted in-depth interviews on a total of thirty-six women and twenty-one men who lived in foreign countries more than two years and have been back in Korea longer than one year. The major results indicated that in addition to personalities, age, length of stay, activities during stay, gender, and cultural distances played important roles in bringing long-term changes on people. Re-established self-identity, changes in values, and openness toward diversity were major common changes observed in the interviewees. In addition, they became educated consumers with good knowledge of diverse brands and prices, and emphasized value as opposed to price. Changes in clothing styles were noted mainly among women. They placed high importance on having their own style, coordination and appropriateness, which were consistent with the general changes. Influences of different cultures were also noted.

• Journal of Digital Convergence
• /
• v.13 no.11
• /
• pp.399-408
• /
• 2015

Walt Disney World focused on Theme opened in 1955. Many Theme Parks such as Everland had opened in Korea. And also Public Theme Parks were established on purpose of finding cultural identity by province government. Most of the Public Theme Parks made special Theme Images to revive the image characteristics and be stronger public theme. But these creativities of the theme images are struggling by the lack technical ability as well. This study derived several problems from the existing research and current issues and found out the future direction sought. Thus, the public theme images are to lead marketing and operating of public theme park by using storytelling and high tech, and look forward to getting position of the window to the future. In future, we must pay attention to study for creation methods and marketing, and plugging in new technology on public theme images. Continuing studies will support to enlarge the identity and educate traditional history through public theme images and park.

• Research in Plant Disease
• /
• v.25 no.4
• /
• pp.220-225
• /
• 2019

During the year 2018, the symptoms of bunch rot on Shine Muscat (Vitis vinifera L.) were observed in Kimcheon-si, Gyeongbuk province in Korea. The disease appears on the Shine Muscat as a black rot due to prolific fungal sporulation after it has invaded into the Shine Muscat which look completely empty and dryness. Colonies of these fungi are present on the Shine Muscat skin from fruit setting and increase in amount from early season to harvest, while become peak at ripening stage. To isolate the causal agent, small fragments (2 to 3 mm) of decayed tissue from the lesion margin were placed onto potato dextrose agar (PDA) plates. Fungal colonies on PDA produced dense white aerial mycelium and then covered with dark black conidial heads. These heads were large and radiate, and vesicles were globose (2.12-32.0×2.0-3.1 ㎛). Based on morphological and cultural characteristics, this fungus was identified as Aspergillus tubingensis. To confirm its identity, the internal transcribed spacer, β-tubulin, and RNA polymerase II was sequenced for molecular identification. BLAST search indicated 99% identity with A. tubingensis. The pathogenicity test on healthy grape of Shine Muscat produced bunch rot, as the original symptoms. To select effective fungicides for the control of brunch rot, an in vitro antifungal activity of seven fungicides were evaluated against the growth of A. tubingensis. Five fungicides (dipenoconazole, tebuconazole, metconazole, iminoctadine, and captan) exhibited significantly strong suppression of the mycelial growth of A. tubingensis.

• The Journal of the Korea Contents Association
• /
• v.14 no.2
• /
• pp.161-171
• /
• 2014

This research aims to analyze the characteristics of the channel brand components, identities in accordance with the organizational strategies of the programmes, and brand structures of the comprehensive programming channels. The channels promote themselves mobilizing a variety of channel brand components and, ecxept Channel A, JTBC, TV Chosun, and MBN coined its names which are reminiscent of their parents corporations. The organizational strategies of the programmes are related with the channel identities. TV Chosun, for instance, branded themselves as 'conservative advocate' while focusing on news programs, and Channel A also takes conservative bias strategy focusing on the news programmes, especially after the 2012 presidential election. JTBC, however, organizes drama and entertainment programmes intensively being equivalent to that of terrestrial broadcasting programmes, and MBN positioned neutral and center with the news and cultural programmes. Referring to the brand architecture, which reveals the structural system of the brand, it is argued that TV Chosun and MBN take the integrated corporate brand strategy, while JTBC tries to mix and balance the brands of the parent corporation and its own independent one. Channel A, exceptionally, doesn't take a name of its parent corporation 'Dong-A'. In conclusion, it is argued that the comprehensive programming channels utilize and take the parent corporate brand, mixed brand, and independent brand in accordance with the brand power and circumstances of their own parent corporates.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.39 no.6
• /
• pp.46-56
• /
• 2011

This study an alyzes the spatial experience of a notable sense of place in five cities-Seoul, Gyeongju, Chuncheon, Anseong and Gwacheon. A survey targeting 300 citizens was carried out to survey meaningful, memorable places and measured spatial experiences in those places. The types of spatial experiences were divided among places to determine the implications thereof. To do this, first, those places that have a notable sense of place have relevance in natural and historical resources such as parks, cultural assets, etc. Second, the main experiences in making sense of place included 'relaxation and walking' and 'a view and appreciation'. These were divided into two types, Spatial Contact and Human Contact. Third, cities such as Seoul, Anseong, Gwacheon offer a variety of experience in places having a notable sense of place. Fourth, in cities noted for natural landscape, history and culture, those spaces with a notable sense of place are concentrated in the center of the city. They exhibit a variety of behaviors, complexly and simultaneously. These results-based spatial experiences of citizens and spatial character have important meaning for city identity and city marketing. Through defining those places that have a notable sense of place and understanding the spatial features in these places, this study can suggest basic information for forming the development strategy of the city.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.6
• /
• pp.185-198
• /
• 2013

The 2002 World Cup cheering in front of Seoul City Hall and Seoul Plaza design competition provided an opportunity for the discussion of a variety of discourses regarding our plaza culture. The Gwanghwamun Plaza constructed in 2009 also generated discussions for questions on the function of our plaza as a symbolic, humanistic and utilized place. The questions on whether we have created a plaza culture or what should be done for the design of our plaza are still being explored. The reason is that our plazas were constructed without social consensus regarding identity of our plaza while we are influenced by western plaza ideas. The principle of our plaza culture and shape is not yet discussed and determined. The emergence of discussion sparked by the Gwanghwamun Plaza and the Seoul Plaza can be seen as a positive phenomenon. If we can continue to build creative discourse, we will be able to establish our plaza cultures soon. In this context, the Ansan Gwangduk-ro theme plaza design can be a significant material to be discussed. The design competition for the plaza was held in 2009 and it is followed by the construction of the plaza in late 2010. Considering cultural and spatial issues on our plaza in mind, the project will be explained and the identity of the contemporary design will also be explored.

• Archives of design research
• /
• v.13 no.1
• /
• pp.103-110
• /
• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.