• Journal of the Korean Institute of Rural Architecture
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• v.9 no.2
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• pp.95-102
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• 2007

This study attempts to propose ways for activated methods of Sancheong tourist resort with Traditional Oriental Medicine(the following this resort) by examining the placement plan, space plan and characteristics of this resort. The results of this study are as follow. First, the accessibility has to be improved for safe and quick transportation between this resort and nearby areas. The curved roads must be replaced by straight roads at least partially. Second, an experiencing space like herb farm is necessary to activate the function of the tourist resort in the aspect of the arrangement planning for this resort. Third, the roads within the complex must be improved into Ring Roads for the circulation of cars to use the space in the tourist resort in a reasonable and positive way. Fourth, various places for tourism must be developed in the rear for sightseeing tours. Moreover, the development of tourism area together with the residents must be achieved with the active participation of the local people in the festival.

• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• (The) Research of the performance art and culture
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• no.25
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• pp.291-332
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• 2012

Cham is the Buddhist ritual dance performed at the religious festival of Lamaism. It has been spread and performed at the Lamaist monastery of Tibet, India, Nepal, Bhutan and Monglia. The type and style of Cham are differntiated by the region and sect. However, they share the common aim of exorcising all evils symbolized by linga who resists the Buddhist dharma, and thereby celebrating the victory of Buddhism. This paper deals with the ritualistic concept and structure of Cham with a focus on Hemis Chetsu of Ladakh located at the extreme north of India. The festival is held to honor the birthday of $Padm{\bar{a}}sambhava$ who is the founder of Tibetan Buddhism in the 8th century. As a result, this paper drew the characteristics of Cham performance such as dance as the incarnation of sacred beings, ritualistic offering, visualization meditation as well as the ritual space as a mandala, the ritualistic intent of stylized acting, accumulative performance structure, the $Mahay{\bar{a}}nic$ motif of performance.

• Journal of Korean Society of Rural Planning
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• v.16 no.4
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• pp.1-11
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• 2010

This study has intended to evaluate rural subjective landscape through participation of residents and visitors according to space types, and to perform comparative analysis of evaluation results between residents and visitors. This study has employed a survey method for which 58 residents of 8 villages within Seondong region at Gochang-gun and 70 visitors to Green Barley Field Festival in the target region have participated. 42 landscape view points were selected according to landscape scopes and space types, and then the preference was evaluated using landscape adjectives after showing pictures already taken for each landscape view point. This study has found the following results. First, whereas residents gave high points to natural landscape and artificial one at the historical culture areas in comparison with other landscape scopes, visitors gave them low points on the other hand. Second, visitors evaluated the cultivated area among space types of mixed landscapes with high value. Third, based on t-test for comparative analysis, the statistically significant differences of evaluation results appeared at 6 places among 8 natural landscapes, 3 places among 12 artificial landscapes, and 3 places among mixed landscapes.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.7
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• pp.63-72
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• 2019

The purpose of this study is to apply the types of urban street pattern and the shape of streets to the master plan of a religious community complexes. The street pattern is a framework of urban structure and to understand the urban structure is helpful to understand the nature of urban streets. By analysing the precedent researches, the types of street patterns are classified as a serial pattern, a branching pattern, a grid pattern and a web pattern. The street patterns are hierarchically composed and classified as a differential development and sequential development. There are boundaries and gates where the street space is differentiated to the more private level. The urban streets continue to the architectural streets such as arcades, deck streets, corridors, lobbies and halls. The purposes and results of the master plan of this religious community complexes are as follows. 1) The school area, housing area and service area are properly separated and connected. They are separated by the building masses and connected by the street space in between. 2) The street pattern of this complexes is a serial pattern where the streets are the center of each functional building groups. The entry square is divided by the symbolic building. The one branch is school street and the other is living street. These streets are combined again to the festival street. 3) The architectural streets are organically related to the urban streets. 4) Each street spaces are of adequate form according to its properties as a place. 5) There are boundaries or gates such as a gab between buildings, posts, arches and deck streets according to the relationship between streets.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.3
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• pp.291-300
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• 2016

The emergence of smart devices and IoT leads to the appearance of O2O service to blur the difference between online and offline. As online services' merits were added to the offline market, it caused a change in the dynamics of the offline industry, which means the offline-space's digitization. Unlike these changing aspects of the offline market, exhibition industry grows steadily in the industry, however it is also possible to create a new value added by combining O2O service. We conducted a survey targeting 20 spectators in '2015 Seoul Design Festival' at COEX. The survey was used to analysis of the spatial structure and generate the dataset for machine learning. We identified problems with the analysis study of the existing spatial structure, and based on this investigation we propose a new method for analyzing a spatial structure. Also by processing a machine learning technique based on the generated dataset, we propose a novel evaluation model of exhibition-space cells for O2O service layout.

• Journal of the Korean association of regional geographers
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• v.8 no.3
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• pp.326-346
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• 2002

This study examined how the tradition and culture based on the historical experience of the region are regenerated on the making regional identity and symbolic representation in Kurim-ri, Youngam. Kurim has represented the most typical community of the aristocratic class through Daedong-gae of 400 years. But, since 1970's Kurim has undergone a rapid change in regional identity in Kurim ; from the beginning of the spot of Wangin festival to the village of earthenware, the village of pottery culture heritage most recently. The process of history-making around Wangin in Kurim was connected with the strategy of the pottery culture village-making centering around the Youngam Pottery Culture Center. These projects ultimately were resulted in expression the regional identity, 'Kurim of Wang-in'. The regional tradition of Daedong-gae and Wangin in Kurim was linked together solidly through the Wangin festival procedures. And the excavation of a kiln site in Kurim which was going on with the process of history-making at the same time around Wangin in Kurim provided the cultural episode on related 'earthenware' with an archeological foundation. As a consequence of these, the cultural space, the Young-am Pottery Culture Center has came to establish in Kurim finally. However, recently the Kurim of Wangin and Daedong-gae which was representative of regional identity in Kurim is bringing Dosun who was distorted and estranged during the history-making focused on Wangin in Kurim. Now, there are some cultural issues in Kurim ; an authentical settlement of the Youngam Pottery Culture Center in Kurim and how Wangin and Dosun is linked together into the cultural strategy of 'the traditional village, Kurim'.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.86-99
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• 2016

This study was for analyzing the external environment and internal space structure and improving the way of use efficiency in waterfront through the Dragon boat festival to utilize waterfront actively. Through from the four target area, Hongkong, Busan, Incheon and Daejeon, this study was for an importance and satisfaction analysis for users about the element effect on the waterfront use efficiency and the contribution to cultural contents revitalization of waterfront by giving basic data. The result is as follows. First, in the importance analysis about 12 items, modern cultural infra around the waterfront was ranked highest, 8.26 and waterfront landscape, square & openspaces, convenience facilities, transport, green area, quality of viewing space, historic resources, pedestrian, suitability of width, wave, depth, water quality, berth & mooring were ranked in descending order. Second, waterfront landscape was interpreted by rather the external environmental impact according to city size than the matter of spatial structure in target area and judged as an important factor effect on site selection for waterfront. In the analysis of waterfront landscape, the reason of the high satisfaction about domestic target area was that riverside parks were recently made considering their waterfront activities. Viewing space was major infra where people could experience the pleasant waterfront and watch dynamic water leisure sports like Dragon boat three dimensionally and was thought to be improved for the use efficiency. Third, tourism resources were very important element that affect the use efficiency of waterfront, so waterfront users react sensitively to modern tourism resources rather than to historic resources. This meant that tourism infrastructure for shopping and leisure of the young affected the use efficiency of waterfront, so Hongkong and Busan were in a better position in terms of using waterfront that was near the tourism infrastructure. Fourth, in the analysis of traffic accessibility, both Hongkong and Busan were high evaluated in terms of excellent traffic accessibility by subway. Daejeon was low rated in terms of the satisfaction of use efficiency, because of the relative lower place awareness compared with transportation infrastructure. In Hongkong, waterfront was connected with downtown and in Busan, housing complex and shopping centers were located in the place for users in an easily accessible on foot, so the satisfaction was high-pitched. Finally, in the importance of water surface width and the analysis of satisfaction, except Incheon, all the three were over 200m in width of water surface and this meant the surface width above certain level was interpreted to interrupt the concentration of enjoying the water leisure sports. In the analysis of surface condition such as water quality, water depth and wave, through a survey, Busan had a problem with water quality and Gapcheon in Daejeon had a problem with optimal water depth by the festival participants.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.554-565
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• 2018

This study is to think a new arena of collective play culture at the university campus festival for digital generation used to be individually consuming play in cyberspace. While cyberia is virtual cultural space by providing gigantic platforms in which producers and consumers meet, this space has characterized as individuality and disembodiment, that is why recalling the collective play culture at the off-line. This article is to examine the characteristics and meaning of the recent campus festivals during the history of Korean college festivals, and to analyze proposals of play-contents applied by various theories. The 2016-7' proposals include several kind of board game and experimental theatre sublimed philosophical reflection, which shows a kind of attempt to escape from the cultural industrial logic, however they are characterized by Ilinx(drinking culture) and Alea(board game) emphasized more than Agon, and Mimicry combined with paidia rule strongly. Under the neoliberalism, college students' gloomy reality is represented emasculating of the structure of competitions in the context of an unreal world and Mimicry of experience stay in front of the limen before entering the embodiment.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.485-507
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• 2012

Parodos, the side entrances to orchestra (acting space), was one of the intrinsic elements for the ancient Greek theatre structure. It is worth noting that parodos was the sole structural component that remained the original form while all the other elements such as orchestra, skene, and theatron experienced drastic or gradual changes in form throughout the passage of time. On the reason for parodo's maintenance of the original form, this study suggests a possibility that parodos could be the most intrinsic among the elements for Greek theatre buildings. For evidence, this paper indicates the historical fact that the procession tradition was the key event in the national or civic festival known as City Dionysia, and that the single-direction passageway, as seen in the Panathenaic Way passing through the City Athens, could be the easiest and most efficient way to realize the cause for the procession tradition that is the citizens' participation and subsequent unification. This study suggests another possibility that the single-direction passageway in the procession could be the archetype of parodos. For evidence, this study finds that this type of passageway was ubiquitous around the City Athens especially in the Agora, the most popular place in the city and the gateway to the processional event for Dionysian Cult as well as the space for the earliest Greek theatricality and, therefore, was familiar to the citizens. From the discussion, this paper argues that the Greek theatre should be the miniature of the Agora in terms of form (single-direction passageway) and function (civic participation and unification), and that parodos was the theatrical version of the processional passageway in the Dionysian Cult. In conclusion, this paper argues that parodos played a double role. It satisfied the theatrical necessity by functioning as the passageway to dramatic action (entrance and exit of actor/chorus) and as the literal door for the entrance of the audience members. At the same time, it satisfied the social cause, that is civic participation and subsequent unification, by functioning as the processional passage to relay the theatre space to civic events for the national religious cult.