• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.281-287
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• 2020

Dasan(茶山) Jeong Yak-yong wrote many works in various fields. His ideas and philosophy formed a mountain range. First, his aesthetic ideas improved from Dam(淡) to Dam(澹;light), and further to Dam (膽;courage). Because Dasan had the courage to make changes, this was possible. Second, Dasan has the aesthetic idea of Yun(韻). This can be seen in his life pursuing the quaint. Because Dasan was unable to participate in reality due to exile, so he was able to create our culture through many writings. First, Un-Rim-San-Bang(雲林山房) in Sochi Heoyu is the origin of our Namjong Literary Painting, and its origin is Dasan. Second, Dasan pursued Silhak(實學), and applies it to reality. It is Silsagusi(實事求是). Thirdly, Dasan pursued Enjoying Together with People(與民同樂). Aesthetics ideas of Dasan showed the Korean characteristics.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.461-469
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• 2021

Houses contain our own characteristics and philosophy. As a Yangban house in the late Joseon Dynasty, the house of Kwon Hee-moon was constructed over 250 years to the present. Therefore, this house can more objectively examine the aesthetic ideals, such as the thoughts and philosophies of the house owners across the generations. The name of Sarang-Chae is Ui-Wang-Seo(嶷汪棲), it shows thoughts and philosophies symbolically. Ui(嶷)·Wang(汪) mean the elements of nature, and Seo(棲) symbolizes living together, It is aesthetics of Nature, aesthetics of Human boundary. Aesthetics of Nature boundary is aesthetics of Ui(嶷)·Wang (汪), so it is clear and fine. Aesthetics of Human boundary is aesthetics of Seo(棲), so it has meditation and purity. As such, the aesthetic ideal of Kwon Hee-moon's house pursues the ideal of life. Through the aesthetic boundary of the house of Kwon Hee-moon, we can understand the aesthetic boundary of Honam Yang-ban House in the Late Chosun Dynasty.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.1-13
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• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.