• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.154-163
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• 2018

The research object is Huayan Street, which is located in Datong City of Shanxi Province in Northern China. And it's detailedly seated to the east of the Huayan Temple. This street is a multicultural area which covers religious and business culture, along with other kinds of civilization since ancient time. The purpose of this research is to restore the historical and cultural tradition, improving the economic development. This research will use the theory of narrative to analyze the public design of Huayan Street. It's present the new design concept to reflect the cultural story of this region. First of all, the cultural stories of Huayan Street were explored and collected by introducing the history. Secondly, the drawbacks of public design of this street were found out by analyzing the current situation in Huayan Street At the end of this paper, a design solution was proposed according to the history and culture with story-telling methods from narratology which depart the street into four scenes opening, developing, changing and concluding. The innovation point of this research is apply humanism into the public design of Huayan Street and rebuild the image of Huayan Street.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.103-115
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• 2008

This paper investigates the historical significance of Independence Park in Korean landscape architecture by examining the idea and goal, master plan and scheme, and meaning and limitation of the park The construction was announced in July and began with the Independence Arch in the middle of September, 1896. Dr. Philip Jaisohn (Suh Jai-Pil), Counselor of The Privy Office and president of the Independence newspaper, played an important role in park construction. He formally advised the arrangements and general planning of the park, but he actually played a leading role in the park as much as he designed and superintended the erection of the arch. He had the conception of a productive park for cultivating and experimenting with a variety of trees surrounding the monument. In terms of the history of Korean landscape architecture, Independence Park is important in that it is the first modem city park that was tried independently as part of the modernizing-Seoul project and the only park of which object and scheme were revealed. It also strengthens the roots of Korean modem landscape architecture by pushing Korean history of public parks into the prior time to Japanese colonial period and enriches the contents of Korean modem landscape architecture. Independence Park is the original realization of a public park because it was constructed with participation and donations from the planning stage to the construction and use. In addition, it is the goal and means to inspire the spirit of national independence and patriotism in Korean people and lead them to voluntary awakening, enlightenment, and participation. Independence Park, however, was not constructed according to Dr. Jaisohn's original intent due to the lack of funds and the rudimentary level of landscape construction technology. In addition, the location was too far from downtown and accessibility was very difficult. For these reasons, many do not consider the park as having been constructed. However, this kind of view must be changed. Other parks of the time were not detailed and decorated like typical western parks, but were left as public spaces. In other words, these parks should not be judged by comparing them to western parks. This is the same concept as that of the first parks of modem Korea being called 'park land.' These parks were more natural environments than planned gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.128-135
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• 2013

The purpose of this study is a suggestion that it is a way for conservation and management the Namgye Seowon's heritage value based on its landscape visibility and land use; Namgye Seowon is a world heritage registration object. To do this, We had done a field investigation and a literature examination. The investigations are as following; first, setting protection zone through a comprehensive approach beyond uniform cultural properties protection zone is to note current intellectual situations as well as the place related to the locational characteristics and figures of Namgye Seowon. It's to set fore seeable section of landscape by analyzing visibility focusing through on Pungyeongnu, and it consider with protection zone and the present condition of land use. Especially, external view of landscape in Namgye Seowon is visualized with Baekam-san in the distance view of it and Cheonhwang-bong in Daebong-san and nearby large soundproof walls and the towers acts as an impediment factor to the view of landscape. In addition, to recover the original view of landscape of the Namgye Seowon, reckless plans focusing the authenticity of the world heritage should be limited and in case of the vegetation landscape, restoration and maintenance will be made through historical research literature. Through this study, researches on Namgye Seowon and several seowons will be done actively and its aims are to become the framework of landscape conservation and management measures to meet world heritage criteria.

• Archives of design research
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• v.14
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• pp.121-138
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• 1996

The purpose of this study is to develop a new architectural language and design strategies that would anticipate and incorporate new historical situations and new paradigms to understand the world. It consists of four sections as follows: First, it presents a new interpretation of space, human body, and movement that we find in modern art and tries to combine that new artistic insight with environmental design to provide a theoretical basis for performance-event architecture. Second, it conceives of architectural environment as a combination of space, movement, and probabilistic situations rather than a mere conglomeration of material. It also perceives the environment as a stage for performance and the act of designing as a performance. Third, in this context, man is conceived of as an organic system that responds to, interacts with, and adapts himself to his environment through self-regulation. By the same token, architecture should be a dynamic system that undergoes a constant transformation in its attempt to accommodate human actions and behaviors as he copes with the contemporary philosophy characterized by the principle of uncertainty, fast-changing society, and the new developments in technology. Fourth, the relativistic and organic view-point that constitutes the background for all this is radically different from the causalistic and mechanistic view that characterized the forms and functions of modernistic design. The present study places a great emphases on dematerialistic conception of environment and puts forth a disprogramming method that would accommodate interchangeability in the passage of time and the intertextuality of form and function. In the event, performance-event architecture is a strategy based on the systems world-view that would enable the recovery of man's autonomy and the reconception of his environment as an object of art.

• Journal of the Korean association of regional geographers
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• v.16 no.4
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• pp.355-368
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• 2010

This study is to make a framework of newly interpretating the dynamic change of regional or local landscape rapidly occurred after the establishment of the nation state and capitalistic system. The basic concepts of making an interpretative framework are power, subjectivity, and performativity. The framework of closely interrelating the three concepts developed in the near future will be applied to the interpretation of variety of (de)centralized landscapes in regions or locals. A centralized political power under the nation state has destroyed or marginalized the historically developed landscapes, traditional culture, and subjects' values in regions or locals by the political implementation of the nation state, the establishment of national identity, a centralized economic development, and so on. The landscapes produced by the political power of the nation state can take a role as a cause of conflicts in regions or locals in terms of a historical perspective. Landscapes are being made by various subjects, and the produced landscapes also positively or negatively will influence the emotion, cognition, and behavior of the subjects particularly in a performative perspective. The dynamics interrelation between subjects and landscapes has been disguised or marginalized by reason/rationality, totality/collectivity, the separation between reason and emotion mainly made by modernism, the nation state, a capitalistic system. The interrelation between landscapes and subjects is especially emphasized on people's resistibility and creativity. Lastly, landscape is not a concept given as a priori or (re)presented objectively. It is not also a material or an object independently existed from a subject's emotion and cognition. It should be interpreted through a performative relation with subjects. Performativity will take an active role of combining the materiality of landscape, power, and subjectivity. It is also important to understand the active role of landscapes.

• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.

• Journal of architectural history
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• v.21 no.5
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• pp.33-46
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• 2012

The purpose of this study lies on reinterpreting the geography books in Joseon dynasty as records of the cities and consequently suggesting directions for further urban research. Geography books of Joseon dynasty are valuable references to understand the national policy, and imply that the focus of the contents is on the system. Especially, military system is an important concept to understand city type in that period, relationships between cities, selection of location, etc. The results of review are as following: First, military system is not a permanent fixture and therefore reflects changes in urban policies along with the history. The system suggests valuable clues on urban development as it is state-run, and closely associated with national land development. Second, counties and prefectures under jurisdiction of district called Eupchi(邑治) had cities as important as or even more important than local government such as Yeong-a(營衙), Jinbo(鎭堡), Yeok(驛: administrative cities). Such special regions need to be studied as other type of cities in Joseon dynasty by defining their architectural characteristics and roles. Third, the relationship of cities such as Eupch, Yeong-a, and Jinbo, was reorganized according to the local military system. Eupchi, administrative city, along with Yeong-a and Jinbo evolved into a military city as it became systematically organized. The characteristics of Yeok needs to be reconsidered in the context of such new inter-city relationship. Fourth, considerations which should be reviewed in the geography based on this concept can be mainly classified into architecture and landscape. This will also lay the foundation, and suggest new directions for further research for Eupchi, Yeong-a, Jinbo, and Yeok. Fifth, description of the geography looks simple at first sight, but with thorough understating on the system, there are chances to interpret objective reasoning of position and landscape in the overall flow of region, area, etc. Bongsu(烽燧), signal-fire, can be an object of comparison with geographical features and position. Furthermore, advantageous position is a historical and geographical element showing the major context of the region.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.